bert ligon - jazz theory resources - i & ii.pdf

vii INTRODUCTION I. REVIEW of BASIC THEORY MATERIALS 1 Chromatic Scale 2 Intervals and Inversions 3 Major Scale Construction 4 Minor Scale Construction 5 Circle of Fifths 6 Scale Degree Names Key Signatures and Order of Accidentals 7 Common Notation Errors II. RHYTHM in JAZZ PERFORMANCE 10 Polyrhythms 11 Swing Eighth Note 12 Accents and Articulations 15 Rhythmic Roles 18 Harmonic Rhythm in Jazz Performance 19 The Larger View: Form as Rhythmic Structure 21 Placement of the Notes 22 Syncopation Studies 28 Syncopation in the Jazz Waltz 29 Polyrhythms in Performance 38 Clave Beat 41 Odd Meters Mixed Meters 42 Rhythmic Reading and Dictation Exercises 47 Other Suggested Exercises 48 Reading Exercises III. BASIC TONAL MATERIALS 52 Tonality 55 Pitch Hierarchy 56 Ear Training Beginning Singing Exercises 60 Beginning Writing Exercises 60 Beginning Tunes for Ear Training 64 Application IV. TRIADIC GENERALIZATION 69 Tertian Triad Triadic Generalization 70 Elaboration Devices Passing Tones 72 Neighbor Tones 74 Neighbor Tone Combinations 78 Arpeggiated Tones Chromatic Approaches 79 Octave Displacement and Leaps 80 Pedal Point and Pivot Tones

80 Triadic Musical Examples 84 Triad Motive Developed 86 Triadic Embellishment of C Major Triad 87 Triadic Embellishment of C Minor Triad 88 Pentatonic Scale Blues Scales 90 Blue Notes 91 Blues Scale Musical Examples Major Blues Scale 92 Minor Blues Scale Combinations of Major and Minor Blues Scales 93 Generalization Examples Applied V. DIATONIC HARMONY 95 Diatonic Harmony: Major Inversions 96 Functional Harmony 98 Determining the Key 99 Chord Identification Practice 100 Diatonic Harmony: Minor 104 Determining the Key 106 Chord Identification Practice Solved VI. HARMONIC PROGRESSIONS 108 Common Root Movement Common Progressions in Major 109 Common Progressions in Minor 110 Application of Harmonic Analysis Hierarchy of Chords 112 Closely Related Keys 114 Secondary Dominants 121 Deceptive Resolutions 122 Dominant Seventh Chords and Deceptive Resolutions Diminished Seventh Chords and Deceptive Resolutions 126 Value and Limits of Roman Numeral Analysis (RNA) 127 Dominant Chord Exceptions Tritone Substitution 129 Traditional Augmented Sixth Chords 132 Backdoor Dominants

VII. HARMONIC ANALYSIS 135 Roman Numeral Analysis with Common Jazz Progressions Progressions that Modulate to Closely Related Keys 136 Turnaround Tunes 137 Progresses to IV with Secondary ii7/IV - V7/IV Progresses to vi with Secondary iiø7/vi - V7/vi 138 Uses Secondary viio7 Chords Uses Cycle of Secondary Dominants 139 Chords Borrowed From Parallel Minor 140 Tunes With Similar A Sections Modulates to Remote Keys 141 Progressions Shown With RNA

151 VIII. HARMONIC SUBSTITUTIONS and TURNAROUNDS 152 Turnaround Progressions 156 Application to Standard Progressions 164 Harmonic Substitutions for Blues in F Major 169 Harmonic Substitutions for Blues in F Minor 170 Harmonic Substitutions for Rhythm Changes 177 Standard Tune Application IX. HARMONIC SPECIFICITY 179 Specificity and Generalization 180 Guide Tones 181 Bass Lines as Guide Tone Lines 182 Ten Basic Patterns for Bass Lines 184 244,140,625 Bass Lines for Blues 188 Guide Tones Applied to Melodic Lines 189 Linear Implications of Harmony 193 Guide Tones for F Major Blues 197 Blues Etude Guide Tones Guide Tone Line Applications to Standard Progressions 203 Step Progression 206 Other Voices as Guide Tones 221 Avoid Notes? X. COMMON MELODIC OUTLINES 224 Linear Harmony 226 Constructing the Three Basic Outlines 229 Outline Examples Examples of Outline No. 1 239 Examples of Outline No. 2 243 Examples of Outline No. 3 247 Combination of Outlines 250 Outline Applications Applications to Standard Progressions 255 Outline Embellishment and Development Ideas 259 Outline Etude 260 Ear Training XI. HARMONY: OVERVIEW of VOICINGS 264 Four Part Voice Leading 265 Five Part Voice Leading 276 Piano Overview 281 Accompaniment Classifications 284 Arranging Voicings in Brief Sax Soli Voicings 286 Non-Harmonic Tones 292 Brass Voicings 297 Brass and Saxophone Combination Voicings 299 Special Case and Clusters Voicings 300 Vocal Voicings String Ensemble Voicings

302 XII. MODES and MODAL FRAMEWORKS 305 Modes Bright to Dark 306 Major, Minor or Modal? 308 Modal Melodic Examples 312 When is it Modal and When is it Functional Harmony? 313 Chord Symbols and Modes Tunes with Modal and Functional Harmony Combinations 314 Tunes with Modal Mixture Modal Planing Modal Progressions 318 Motivic Development Compositional Devices for Motivic Development 322 Motivic Development in Modal Improvisation 323 XIII. QUARTAL HARMONY 331 XIV. OTHER SCALES and COLORS 332 Scales for Jazz Improvisation Chord/Scale Equivalency 333 Modes of the Melodic Minor Scale 336 Relationship Between 7th and 4th Modes of Melodic Minor 340 Modes of the Major Scale with b6 345 Applications of Major Scale with a b6 in a Composition 348 Scales of Limited Transposition 353 Chord/Scale Relationships Review 358 Hexatonic Options358 359 Determining the Appropriate Sound Chord Symbol and Context Melodic Implications and Chord Symbol 365 Impositions over Traditional Frameworks XV. EXTENDED TERTIAN STRUCTURES and TRIADIC SUPERIMPOSITION 370 Notation Shorthand 382 Triadic Superimpositions Formulas and Examples XVI. PENTATONIC APPLICATIONS 388 Pentatonic Applications 389 Pentatonic Superimposition Formulas 393 Pentatonic Superimposition Formulas XVII. COLORING "OUTSIDE" the LINES and BEYOND 394 Approaches to Coloring Outside the Lines 403 and Beyond XVIII. ANALYSIS: the BIG PICTURE 405 Transcription 406 Analysis

409 So What: Miles Davis 415 All Blues: Cannonball Adderley 426 Blue In Green: John Coltrane 427 Freddie Freeloader: Wynton Kelly 435 Billiei's Bounce: Charlie Parker XIX. EXPANDING HARMONIC VOCABULARY 441 Introduction 447 Voice Leading Harmonic Rhythm 448 Mixture of Harmonic Colors 450 Types of Motion 451 Creating with New Vocabulary Possible Harmonizations of the Pitch "C" 455 XX. CODA

456 Appendix I: Reference for Chord/Scale Relationships 458 Chord/Scale Relationships Scales 459 Chords with Scale Sources 462 Scales with Derived Chords Appendix II: Elaborations of Static Harmony 467 Elaborations of ii7-V7 progressions 468 Elaborations of a C Major Chord usually as Tonic (I) 471 Elaborations of a D Minor Chord as i, vi, or i Appendix III: Endings 473 Endings to Blues 474 Endings to Standard Tunes 476 Tag Extensions 479 Ballad Endings Appendix IV: Composing Tips 481 Composing Tips Music Theory Rules Rewriting Getting Started 482 Rewriting by Asking Questions Contrasts 483 Consistencies Compositional Devices for Motivic Development Listening Appendix V: Theory Applications 484 General Concepts Applied to a Standard Progression

Introduction vii

Jazz Theory Resources

INTRODUCTION

PURPOSE

Jazz is an aural tradition. The music is passed from one teacher to a student, from one generation to thenext, not from written books, but from the tradition of personal interaction, listening and imitation. Thesuccess of this method is proven world wide. There are no etude books for Indian classical music; a stu-dent of African drumming does not run to the store to buy a copy of the well-tempered drum book.Most of the great jazz artists we listen to learned from the aural traditions and not from written text-books. Why write one? This book is meant to be a supplement to and not a substitute for the aural musi-cal education. This book is a resource to augment the learning experience of listening, transcribing clas-sic jazz performances, and performing the music with peers.

The book has been developed over the last ten years of teaching. I want to extend thanks to the hun-dreds of students who helped me determine areas that needed clarification and allowed me to formulateanswers. Thanks also to Reed Kotler whose internet discussion group offered me the opportunity to offermy answers to many common questions. I appreciated the opportunity to try out parts of chapters inthose electronic chats, honing my opinions in some productive (and sometimes heated) discussions.

ORGANIZATION

It is my contention that jazz music theory should not be separated from traditional tonal music theory.C major is C major. Music of many different styles still share fundamental building blocks. Jazz sharestonal principles, harmonic frameworks, forms, and melodic construction with tonal music from theBaroque, Classical, and Romantic periods, and with ancient folk and contemporary popular music.

The book is divided into two volumes that correspond with two levels of jazz theory classes at the uni-versity level. Volume I deals with the relationship of jazz improvisation to the traditional major/minorsystem (Chapters 1-11). This section includes a lengthy chapter on rhythms in jazz performance.Volume II examines additions to and extensions beyond the major/minor systems (Chapters 12-17).Many of the concepts in the second section are best understood in relation to the foundation of the ma-jor/minor system. After study of the component parts of jazz, a student should be prepared to recognizehow pieces fit into the whole of a jazz improvisation and be able to transcribe and analyze completejazz improvisations. Chapter 18 provides analyses models of five well-known improvisations. Chapter 18could be used as a graduate level jazz theory class using the transcriptions included here as a beginning.There are five appendices included at the end of Volume II which should be valuable resources for stu-dents of jazz: Reference for Chord/Scale Relationships, Elaborations of Static Harmony, Endings,Composing Tips, and Theory Applications. Students are encouraged to supplement this book by consult-ing the many available sources for the history of jazz, lists of representative musicians and recordings,and lists of standard jazz tunes for performance.

Good music theory should describe how the music sounds. And music theory has only two rules: (1)does it sound good? and (2) does it sound good? All else is a discussion of principles: “if I do this, itsounds good; if I do that, it doesn’t.” I have tried to keep all discussions relative to the aural experience.

viii Introduction


There are no mathematical charts that are irrelevant to practical applications. The book’s concepts werebased on personal research of jazz improvisation by outstanding jazz artists and the study of great musi-cians from all eras. The book includes musical examples from a wide range of sources including Bach,Mozart, Charlie Parker, Duke Ellington, Tom Harrell and Mike Stern. It is these artists who are the ulti-mate authority and who have determined the fundamental laws of music theory. I have never liked thedistinction between an “ear player” and a “theory player.” It implies that one who knows theory is sepa-rated from the aural, and implies that one who plays by ear knows nothing of what he plays. A goodplayer (“ear” or “theory”) knows what it is that he hears, plays by ear, and understands the concepts ofwhat he plays. Whether he is able to articulate what it is that he does is another matter. A “theoryplayer” who does not sound good has not used music theory well. I based this book on music theorythat describes how the music sounds never loosing sight of the two rules.

What about those students who define jazz as “playing what you feel” and often shun theory discussions?Art can express feelings. Without some knowledge these students wander about musically and conse-quently express very little. There are many skills to be mastered. I am reminded of something said bythe great baseball philosopher, Yogi Berra, “If you don’t know where you are going, you might wind upsomeplace else.” Learning theory can give these students some direction and goals so they wind upplaying what they feel instead of winding up someplace else. As a writer studies grammar and vocabu-lary, an improviser and composer studies music theory: to find and master the tools necessary for thegoal of personal expression. Any young improviser who wants to “play what he hears” or “play what hefeels” has an idea about some notes that sound good in a context. That idea is music theory.

Those who do not improvise often wonder what it is that we do. This is the simplest answer to the ques-tion, “on what do we improvise?”—We improvise on the melody (paraphrasing), or improvise on theharmony (being either specific or general). A dictionary defines improvisation as “inventing with littleor no preparation.” Few improvise on the melody or harmony without a great deal of preparation.Preparation for jazz improvisation can occupy a lifetime. The study of music is a never ending puzzle.One piece may be solved, but in doing so one finds it connects to a larger piece of the puzzle. When weare done with the Sunday crossword puzzle we tossed it aside; but, thankfully, music is a puzzle that canentertain and fascinate an artist for a lifetime.

When I began to play, improvise and compose music, I was confronted with twelve pitches and no pat-terns or preconceived notions about structure. I spent years practicing and studying patterns of scales,arpeggios, melodic shapes, embellishment figurations, harmonic possibilities, and rhythms. I find I getcloser to completing a circle and returning to the point where I am confronted with twelve pitches andno patterns or preconceived notions about structure.

LANGUAGE & MUSIC

There are numerous analogies between the musical and verbal languages. Some similarities are relevantto the music learning process. Anyone who has tried to learn a spoken language as an adult can onlymarvel at the ease at which extremely young children learn a language. Children begin learning lan-guage in the womb. Studies in music education have also found the best time to develop the musicallanguage is at an early age, and that the chances for developing complete musical skills diminish witheach passing year.

Babies only four days old can distinguish one language from another by noticing the general rhythmsand melodies. This confirms the relationship between musical perceptions and language. A child willimitate distinctive sounds, words and phrases before linking them to any meaning. Around age one,meanings are associated with words and single words appear in their speech. By age three they are ana-lyzing grammar and recognize that sentences are constructed from noun phrases (“The big bad wolf”)and verb phrases (“ate the grandmother”). As they advance and mature, they construct sentences usingthis common grammar to express independent and individual thoughts. At the point when the child be-

Introduction ix


gins reading, the reading material is much more elementary than the child’s aural languages skills, andthey work to balance the two skills.

This is the opposite of the musical learning experience for so many children. The first day with an in-strument is often spent looking at whole notes on a page. By the time many students attempt to under-stand the aural significance (the real musical language!) they are past their prime learning period. Whiletheir reading skills may be quite advanced, many of these students attach little actual musical meaningto what they have been trained to reproduce. At the age when training the ear is finally stressed, it is of-ten more difficult to ever achieve any balance.

Children can distinguish noun and verb phrases and individual words even though language is not spo-ken one . . . word . . . at . . . a . . . time. Language, like a musical line, is often a nonstopstreamofsound. Sooften a musical student will attempt melodic dictation trying to hear each individual note of a phraserather than trying to hear groups of notes analogous to noun and verb phrases. A child can perceive thebasic meaning of “The big bad wolf ate the grandmother,” to be “wolf ate grandmother.” A music stu-dent should learn to distinguish groups of pitches in a phrase as pointing to a single pitch that is moreimportant than the surrounded pitches. The phrase below includes all twelve chromatic pitches, yet thebracketed groups of pitches point to the three notes of the C major triad. The line is not heard as ran-dom chromaticism, but as an embellished tonal idea in the key of C major. We can hear the bracketedgroups of pitches in the same way we hear noun and verb phrases.

& c Ó ‰ jœ#3

œ œn œbC

œ↓

œ# œ œb œ↓

œn œ œ# œ↓

Identifying each pitch by its vertical alignment with the given chord provides no insight and serves noreal purpose. We do not hear separate words or letters in a sentence, nor would we analyze a sentence inthis way.

& c Ó ‰ jœ#3

œ œn œbC

#6 M7 M9 m9

œ↓

œ# œ œb œ↓

œn œ œ#1 #4 M6 m6 P5 P4 M2 A2

œ↓

M3

One of the characteristics of music and jazz music in particular is that the musical ideas may not becontained within the measure lines. The measure lines do not exist in music; they exist only in music no-tation. If melodies are highly polyrhythmic, as they are in many jazz compositions and improvisations,the melodies will often overlap the measure lines, and the notes will not align vertically with the writtenchord symbols. It is extremely important when listening or analyzing to realize that music is linear andnot vertical. If we analyze music vertically confining the notes to neat groups of four eighth notes itmakes as much sense as trying to read the sentence “The big bad wolf ate the grandmother,” as “Thebigba dwol fate theg rand moth er.”

A valuable tool for teaching language is the use of memorization of common phrases. All languagecourses teach basic conversational, useful phrases: “how are you?” “which way to the [train station][bathroom] [theater]?” “will you accept my credit card?” At the more advanced level, a student of lan-guage may memorize portions of great literature or important documents. (“Shall I compare thee to asummer’s day? . . ,” “We hold these truths to be self-evident . . .”) The value of this exercise is obvious:the student learns to appreciate the sound, structure and finer use of the language. The musical analogy

x Introduction


is also obvious: students wishing to learn the jazz language should memorize short and long phrasesfrom important jazz improvisations in order to appreciate the sound, structure and finer use of the mu-sical language.

We diagram and analyze sentences to determine the noun and verb phrases and identify the modifiers.We diagram sentences to learn to use the basic structures to construct our own sentences. Different mod-ifiers can be used, the sentences reordered and the potential for expression is infinite. Musical analysiscan parallel this grammar exercise. Analyzing well constructed musical lines can teach us how to playour own individual lines. We can borrow the fundamental principles and shapes of a well constructedline, add or subtract decorative chromaticism and embellishments (modifiers), change the rhythmiccharacter and create infinite lines of individual expression.

Pat Metheny responded to a question about jazz improvisation and echoed the language analogy:

Improvising on chord changes is a lot like giving a speech about a fairly complex sub-ject using fairly complex grammar—there is no way you can just wing it, you have tohave done a lot of research into the subject and have a pretty wide ranging vocabularythat makes the language in all its potential available to you. much in the same way thatall of us are capable of kind of “improvising” our sentences without really thinking toomuch about verbs, adjectives, pronouns, etc. A really good improviser who has studiedharmony and its implications for years can sort of just “play.” There is no gettingaround it, if you are serious about playing on a tune like Giant Steps or even Phase

Dance for that matter, you will have to know everything there is to know about particularchords, series of chords, key changes, etc. The only way to get past the problems . . . is topractice a lot for many years and to learn all you can about music. There are no shortcuts or quick fixes. (3.24.99)

CONCLUSION

I have written three books with the goal of making it easier for students to learn all they can about jazzmusic. The books are certainly not short cuts or quick fixes, but companions for many years of practiceand study. This theory book was to have been the first that I published, but I spent so much time onChapter 10 on common melodic outlines that it became a book itself, Connecting Chords with Linear

Harmony. Comprehensive Technique for Jazz Musicians is meant to be the practice room companionto this theory book, though published first. Jazz Theory Resources can provide theoretical explanationsand suggestions that may be pursued in the practice room and provide insight into the organization ofjazz improvisation and composition. Music is more than the sum of the parts. This book is just about“some” of the parts.

Chapter 1 Review of Basic Theory Materials 1


I. REVIEW of BASIC THEORY MATERIALS

This book assumes the student is more than familiar with the basics of music theory: the notes of thestaves, intervals and inversions, tertian chord construction, notation principles, key signatures and theorder of accidentals. There are a number of good books which were designed to teach these basics. Thischapter reviews a few of the fundamentals in the interest of clarity.

CHROMATIC SCALE

The one scale that all jazz musicians use is the chromatic scale. It is shown below written ascending anddescending. Altered notes want to continue in the direction in which they have been altered. Sharps in-dicate a raised note and the direction it wants to resolve. Flats indicate a lowered note and the directionit wants to resolve. Accidentals, when written correctly, make lines easier to read. The note above Cn isnot always a C#. It may be a Db under certain circumstances. If a line moves up from C to D through achromatic note, that note is C#, indicating the alteration and the direction of the resolution. If a linemoves down from D to C through a chromatic note, that note would be Db, indicating the alteration andthe direction of the resolution.

& œ œ# ˙ œ œb ˙

Chromatic Scale: Difference in ascending and descending

&?˙ ˙# ˙ ˙# ˙ ˙ ˙# ˙ ˙# ˙ ˙# ˙ ˙

˙ ˙# ˙ ˙# ˙ ˙ ˙# ˙ ˙# ˙ ˙# ˙ ˙˙ ˙ ˙b ˙ ˙b ˙ ˙b ˙ ˙ ˙b ˙ ˙b ˙˙ ˙ ˙b ˙ ˙b ˙ ˙b ˙ ˙ ˙b ˙ ˙b ˙

2 Chapter 1 Review of Basic Theory Materials


INTERVALS & INVERSIONS

Intervals, the distance between two pitches in a melody line or in a chord, are primary musical buildingblocks. It is important to understand their construction and their individual sounds. Intervals are easierto understand and hear in the context of actual music, but a review of the principles here will expediteunderstanding material presented in this book.

To find the intervals between two pitches count the first as one and continue to the second pitch. Forexample, the interval from D up to F is a third: D (1) - E (2) - F (3). If the interval is inverted, D down toF or F up to D, the interval is a sixth: D (1) - E (2) - F (3) - D (4) - E (5) - F (6), or F (1) - G (2) - A (3) - B(4) - C (5) - D (6).

The presence of accidentals does not change the numeric value of intervals. Db to F and Dn to F areboth separated by the interval of a third: Db to F is made of four half steps and is a major third; and Dnto F is made of three half steps and is a minor third.

Intervals will have different qualities depending on the number of half steps. Seconds can be minor, ma-jor or augmented. Thirds are usually either minor or major. Octaves, fourths and fifths are diminished,perfect or augmented. Sixths can be minor, major, and sometimes augmented. Sevenths are usually mi-nor or major.

All intervals can be inverted as shown below. Inverted intervals added together equal 9:

Unison (1) Octave (8)

Second (2) Seventh (7)

Third (3) Sixth (6)

Fourth (4) Fifth (5)

Interval qualities are inverted as shown below:

Major Minor

Perfect Perfect

Augmented Diminished

An inverted third becomes a sixth and a major becomes a minor, so a major third inverts to a minorsixth. Spelling makes an considerable difference in analyzing intervals. The pair of intervals and theirinversions below will sound the same, but are spelled and should be analyzed distinctly. An augmentedsecond has the same number of half steps as a minor third, but the letter names of the pitches decidethe numerical interval. Any C to any D is the interval of a second and therefore inverts to a seventh; anyC to any E is a third and therefore inverts to a sixth.

& ˙ ˙# ˙# ˙ ˙ ˙b ˙b ˙A2 d7 m3 M6

Intervals and spelling will be easier to understand with discussion of scales. Scales are made of intervals,and intervals come from scales.



MAJOR SCALE CONSTRUCTION

There are two ways of understanding the construction of a major scale. The major scale can be definedas intervals relating to tonic or intervals relating to adjacent pitches.

C major scale shown with intervals relating to tonic pitch:

&?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

M2M3

P4P5

M6M7

P8

C major scale shown with intervals relating to adjacent pitches:

&?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

M2 M2 m2 M2 M2 M2 m2

W W H W W W H

In order to create the same order of intervals starting on F, it is necessary to lower the Bn to Bb.Most scales have one pitch for each letter, so there are only seven pitches in the scale. It is for this rea-son that Bb is used instead of A# in the F major scale regardless of ascending or descending. This avoidshaving an An and an A# in the same scale. Any additional chromatic pitches that might occur it the keyof F would follow the principle that altered notes want to continue in the direction in which they havebeen altered.

&?˙ ˙ ˙ ˙b ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙b ˙ ˙ ˙ ˙

M2 M2 m2 M2 M2 M2 m2

W W H W W W H



In order to create the same scale starting on G,. it is necessary to raise the Fn to F#.

&?˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙

M2 M2 m2 M2 M2 M2 m2

W W H W W W H

MINOR SCALE CONSTRUCTION

Natural or pure minor is found on the sixth degree of a major scale. A natural minor scale is relatedto a major scale in the sense that they share the same pitches and therefore the same key signature. Anminor is the relative minor of C major . A natural minor scale can be parallel to a major key if theyshare the same tonic. C minor is the parallel minor to C major. Parallel minor can be created bylowering the third, sixth and seventh degrees of the major scale.

C Natural Minor - Parallel Minor to C major A Natural Minor - Relative Minor to C major

&?˙ ˙ ˙b ˙ ˙ ˙b ˙b ˙

˙ ˙ ˙b ˙ ˙ ˙b ˙b ˙&?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

The natural minor scale does not have a leading tone. In order to create a dominant chord and harmo-nize minor keys, the seventh degree must be raised. This creates the leading tone and the interval of anaugmented second between the sixth and seventh degrees. The augmented second has the same numberof half steps as a minor third, but will not sound like a minor third in the scales below. The altered lead-ing tone is added in order to create harmony with a dominant chord, and the scale is therefore calledharmonic minor.

C Harmonic Minor: A Harmonic Minor:

&?˙ ˙ ˙b ˙ ˙ ˙b ˙ ˙

A2

˙ ˙ ˙b ˙ ˙ ˙b ˙ ˙A2

&?˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙

A2

˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙A2



It is a natural tendency to raise the sixth and seventh degrees when ascending from the dominant to thetonic and lower them when descending. This principle was addressed concerning chromatic scales:raised pitches want to ascend, lowered pitches want to descend.

A Melodic Minor:

&?˙ ˙ ˙ ˙ ˙ ˙# ˙# ˙

˙ ˙ ˙ ˙ ˙ ˙# ˙# ˙˙ ˙n ˙n ˙ ˙ ˙ ˙ ˙˙ ˙n ˙n ˙ ˙ ˙ ˙ ˙

C Melodic Minor:

&?˙ ˙ ˙b ˙ ˙ ˙n ˙n ˙

˙ ˙ ˙b ˙ ˙ ˙n ˙n ˙˙ ˙b ˙b ˙ ˙ ˙b ˙ ˙˙ ˙b ˙b ˙ ˙ ˙b ˙ ˙

CIRCLE of FIFTHS

Review of the circle of fifths with key signatures. There are other possible keys. Continuing around thecircle would yield the keys of C# major with seven sharps and Cb major with seven flats. Using the paral-lel keys is advisable whenever possible. Most would prefer Db (5bs) to C# (7#s) and B (5#s) to Cb (7bs).

C major/A minor

F major/D minor G major/E minor

B major/G minor D major/B minor

G major/E minor

D major/B minor B major/G minor

A major/F minor Emajor/C minor

E major/C minor A major/F minor

0 b0 #

1 1

2 2

3 3

5 5

4 4

F major/D minor

# #

#

#

#

bb

b

b

b6

#6b

b

b

b

b b b b # #

#

#

#



SCALE DEGREE NAMES

Commonly used names for the steps of any scale:

&?˙ ˙ ˙ ˙ ˙ ˙ ˙b ˙nSubmediant Leading ToneMediantTonic Subdominant DominantSupertonic Subtonic

˙ ˙ ˙ ˙ ˙ ˙ ˙b ˙n

The names were derived from their relationship to tonic. This is important to understand as it shows theimportance of learning pitches as they relate to the home pitch, and not as they relate to adjacentpitches. This principle will have great significance regarding hearing tonal music. A subdominant is notnamed for being the pitch below the dominant, rather it is named for because it is the pitch a fifth be-low the tonic.

&?˙ œ œœ ˙œ˙ œ œœ œ˙b œ˙nTonic

Leading Tone

Dominant

Subdominant

Mediant

Submediant

Supertonic

Subtonic

KEY SIGNATURES & ORDER of ACCIDENTALS

Key signatures and the order of accidentals should be memorized.

C major/A minor No #s/NobsF major/D minor 1b BbBb major/G minor 2b Bb, EbEb major/C minor 3b Bb, Eb, AbAb major/F minor 4b Bb, Eb, Ab, DbDb major/Bb minor 5b Bb, Eb, Ab, Db, GbGb major/Eb minor 6b Bb, Eb, Ab, Db, Gb, CbF# major/D# minor 6# F#, C#, G#, D#, A#, E#B major/G# minor 5# F#, C#, G#, D#, A#E major/C# minor 4# F#, C#, G#, D#A major/F# minor 3# F#, C#, G#D major/B minor 2# F#, C#G major/E minor 1# F#



COMMON NOTATION ERRORS

The principles and rules of notation are designed to make the music easier to read. Here are a fewcommon errors. Correcting them will make homework assignments, solo transcriptions, arrangementsand compositions easier to read.

STEMS

Notes above the middle line of any clef have stems down, below middle line have stems up.

Correct stems: Incorrect stems:

&

?

c

c

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

NOTE ALIGNMENT

Check the vertical alignment of notes. If two notes occur at the same rhythmic place, it should be visu-ally reflected on the page. The notes in the second measure below are not aligned vertically as they arein the first measure, making it difficult to tell which notes are to be played together.

Correct vertical alignment: Incorrect vertical alignment:

&

?

c

c

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

ACCIDENTALS

Accidentals should precede the notes in the corresponding space or on the line as in the first measure.If they are placed arbitrarily before the note, as in the second measure, it makes reading difficult. Theaccidental should never follow the note: in a paragraph we may write “Bb,” but in the staff it should bewritten “bB.”

Alignment of Accidentals:

& œ œb œb œ œ œb œb œ



Accidentals should follow the logic of the chromatic scale. For raised notes: use sharps, for lowerednotes: use flats. Accidentals that indicate modulations should be used when appropriate rather than theirenharmonic equivalents.

The first two measures of the example below are drawn from a published transcription of a CharlieParker improvisation. The second two measures is a preferable version. The change in the first measurefrom Dn to Db might seem correct since the flat lowers D. However, the C# is preferable to the Db. The C#is a tone that indicates the modulation from the key of F to the key of D minor, is the leading tone to Dminor, and is the third of the indicated A7 chord. A Db is meaningless in this context. Would it be thediminished fourth of the A7 chord and the lowered tonic of D minor? The Ab, as a lowered note, wantsto move down. It slows down reading when the Ab is followed by an An: the Ab indicated downward mo-tion which was contradicted by the An. The An should have had a courtesy accidental in the first twomeasures. The courtesy accidental is unnecessary with the use of G#. A Gn followed by a G# indicates up-ward resolution, and allows anticipation of the An. Using the C# and G# also avoids having repeatedpitches of the same letter name: Dn to Db and Ab to An.

Ambiguous Accidentals: Preferred Notation:

& b œ œ œ œ œb œ œ œbEø7 A7

œ œDm7

œ œ œ œ œ# œ œ œ#Eø7 A7

œ œDm7

BEAMING

For instrumental writing in common time, beam eighth notes in groups of two or four, and beam six-teenth notes in groups of four.

c Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Ûor:

Beam eighth notes in groups of two, and sixteenth notes in groups of four, when writing for instrumentsin triple meter.

43 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

The time signature 68 has the same number of eighth notes as

34, but the subdivisions should be grouped

differently to indicate the pulse difference. 68 indicates two beats per measure so eighth notes should be

grouped in threes and sixteenth notes in groups of six.

86 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û



IMAGINARY MEASURE LINE

Observe an imaginary measure line between beats two and three in common time when subdivided byeighth notes, between every beat when subdivided by sixteenth notes.

The top line notation is preferred to that on the bottom in the following examples. The notation on thebottom line while mathematically correct is more difficult to read because the imaginary measure lineprinciple is not observed, making it difficult to see the separate beats in the measure. Make the notationas easy to read as possible. If musicians have to stop a rehearsal and to count out the notes in the mea-sure, then there was probably a more logical way to notate the rhythms.

Top line preferred to the bottom line:

.Û JÛ Û Û

.Û .Û Û

Û Û Û Û Û Û

Û JÛ Û JÛ Û

Œ Û JÛ.Û

Œ .Û .Û

Top line preferred to the bottom line:

.Û Û Û Û

.Û .Û Û

Û Û Û Û Û Û

Û Û Û Û Û

‰ JÛ Û.Û

‰ .Û .Û

10 Chapter 2 Rhythm in Jazz Performance


II. RHYTHM in JAZZ PERFORMANCE

The rhythmic language is the main element that distinguishes jazz from the European musical traditions.Jazz music borrowed many things from European musical traditions (major/minor harmonic systems,scales and pitch sets, instruments) but jazz has drawn much of its rhythmic heritage from the Africanculture.

A single chapter could never begin to cover all the aspects of rhythm in musical performance. Thischapter will touch on rhythmic concepts that are unique and prevalent in improvised and composedjazz performances. A basic understanding of rhythmic notation, relationships of note values, ability toaccurately read and write simple rhythms is assumed. For more background, there are many othersources for basic rhythmic concepts and notation.

POLYRHYTHMS

No attempt will be made here to thoroughly explain the inner workings of an African drum ensemble,but some generalizations will be helpful for understanding certain aspects of jazz rhythm. In an Africandrum ensemble there are many different pulses occurring at once, making the music polyrhythmic. Onerole in the band may be to play a primary pulse on a cowbell, something we could write in Western no-tation as quarter notes. These quarter notes can be subdivided into two eighth notes. Another role is tosuggest a second pulse which could be notated as a dotted quarter, which can be divided into threeeighth notes. The two pulses will continue throughout the piece. There will probably be other pulses in-troduced including half note triplets, and their subdivisions of quarter note and eighth note triplets.

2.1 Polyrhythms

Soloist

Pulse #3

Pulse #2

Pulse #1

cccc

œ> œ œ> œ œ œ> œ œ> œ œœ .œ œ .œ

3˙ ˙ ˙.œ> Jœ> œ œ>

œ œ œ œ

œ> œ œ œ> œ œ> œ œ.œ œ .œ

3˙ ˙ ˙

Jœ .œ> .œ> Jœ>

œ œ œ œ

œ> œ œ œ> œ œ.œ .œ

3˙ ˙ ˙œ .œ> .œ>

œ œ œ œ

œ> Œ Óœ

œ> Œ Óœ>> Œ Óœ> Œ Ó

As a piece progresses, individuals may improvise rhythms suggesting combinations of the pulse; forawhile suggesting the quarter note pulse, and other times suggesting the dotted quarter pulse. The em-phasis of one or the other pulse is suggested by the use of accents. These polyrhythms are probably

Chapter 2 Rhythm in Jazz Performance 11


recognized now as being a part of more than just jazz, as they have permeated the American and Worldpop music.

SWING EIGHTH NOTE

Defining a swing eighth note is to define the indefinable. As with all the material written about jazz, thereal meaning is in the playing, listening and the experience. Nowhere is this more true than understand-ing the eighth note feel.

In the European tradition, the pulse can be divided into two or into three. Quarter notes are usually di-vided into two even eighth notes, or three eighth notes as in a triplet. When dividing a quarter note in aswing feel into a subdivision of two, the two notes are rarely of equal value. The first eighth note in aswing feel typically has a longer duration than the second eighth note. Even eighth notes have the ratio1:1. A dotted eighth note followed by a sixteenth note has a ratio of 3:1 and this is too much of a differ-ence to create a convincing pair of swinging eighth notes. The jazz eighth note ratio is more commonlyexplained as a ratio of 2:1, as in a triplet figure with the first two eighths tied.

2.2 Different ratios of subdivision:

1:1

œ œ3:1

.œ œ2:1

3

œ œ œ

Some research has been done using a computer system to time the relationship between the first andsecond notes in the improvisations of artists like Oscar Peterson, Sonny Stitt, John Coltrane, Miles Davisand many others. The results were tabulated and the average ratio was in the neighborhood of 58:42.This ratio can be rounded to 60:40 and then reduced to 3:2. 3:2 can be conventionally notated:

2.3 Subdivision with 3:2 ratio:

3:2

5

œ œ œ œ œ3:2

5

.œ œ

This study was fascinating but it offered little help for the aspiring young jazz musician. The 3:2 ratio isdifficult to read and even more difficult to teach. The best way to understand the jazz swing feel is to lis-ten to hours of great musicians playing jazz. A close examination reveals many different concepts fromone player to the next and even from one player within a single performance. There will be times whenthe eighths notes are perfectly even, others where they will be more like the dotted rhythms, others mayfall in that indefinable area between the 3:2 and 2:1 ratios. What makes the music swing is not just the ra-tio of eighth notes, but the combination of forward drive, swing eighth notes, well placed accents and ar-ticulations.

The best way to understand the jazz swing feel is to listen to hoursof great musicians playing jazz. What makes the music swing is notjust the ratio of eighth notes, but the combination of forward drive,

swing eighth notes, well placed accents and articulations.



ACCENTS & ARTICULATIONS

Anyone who has practiced European art music has at one time practiced scales, being careful not to ac-cent any notes, making long, smooth legato lines up and down their instruments. Classical music per-formance demands the refined, lyrical, legato line be performed with no accents so musicians mustpractice in order to perform it correctly. Part of the African music tradition is the use of irregular andsometimes unpredictable accents. The accents are a way of bringing out the polyrhythmic character ofthe music. The irregular accents should not be mistaken for haphazard. The music may be in marchtime, while the accents played by the improviser may suggest a meter or combinations of meters thatactually extend over the measure line. If a line of eighth notes is played with no accents, the polyrhyth-mic character is lost. I heard a pianist complimenting another pianist saying he could play all the OscarPeterson lines, but without the accents, and this, to him made him the better player. I think they bothmissed the point. Heavy irregular accents are part of the tapestry of jazz music. In order to play Mozart,the objective is to play smooth lines without accents. To play jazz convincingly, you must learn to con-trol accents, not randomly, but as a part of suggesting the polyrhythmic nature of jazz.

In the European model of a common time measure, beats one and three are the strong beats with beatone being the stronger of the two. Beats three and four are the weaker beats. From the influence ofAfrican rhythmic traditions, in some music, the opposite is true: beats two and four get more of an em-phasis. A traditional jazz band will play four quarter notes in a row and beats two and four will getslightly more of an accent than beats one and three. Quarter notes will usually be played short regard-less of their location in the measure.

2.4 Short quarter notes:

c œ. œ œ. œ ‰ œ Jœ Jœ œ Jœ

Watch a jazz musician count off a tune. Usually he will snap his fingers on beats two and four to establishthe tempo and then count, “One - (snap) - two - (snap) - one - TWO - three - FOUR.” This emphasizesthe back beat rather than the traditional strong downbeats one and three. Many jazz musicians set theirmetronome to click on two and four to simulate this accent. Try this rhythmic test. Sing the tune Hit the

Road Jack while clapping your hands. You are probably clapping on beats two and four, and not onbeats one and three. “Hit the Road (clap) Jack (clap)...”

The accented upbeats are not limited to the pulse but also effect the subdivisions of the pulse. Eighthnotes will get a slight accent on the upbeat rather than the downbeat. Players will achieve this by slurringthe upbeat to the downbeat. Horn players will tongue the upbeats and slur to the downbeats. Guitaristsmay pick the upbeat and hammer the finger or slide to the downbeat. String players must change thebow on an upbeat rather than the downbeat as they may have been accustomed.

2.5 Accented upbeats:

& c œ œ>

œ œ> œ œ

> œ œ> ˙ Ó

Many jazz lines end on an upbeat and these notes should be accented. Remember, that to accent a noteit must be louder than the surrounding notes. Often this means playing the surrounding notes softer. It ishard to play a line with all loud notes and then play a note with an accent. Making the surroundingnotes softer will help the accented note stand out.



Lines that end on short notes on the upbeat should are usually played short and accented and will oftenbe notated with a “^” symbol.

2.6 End on short accent:

c œ œ œ œ^

Œ œ œdo ba do DAHT do ba

œ œ^

Œ œ œ œ œ^

do DAHT do ba do DAHT

Long notes on the upbeat at the end of lines should also be played with an accent.

2.7 End on long accent:

c œ œ œ œ>

œ œ œdo ba do DAH do ba

œ œ>

œ œ œ œ œ>

do DAH do ba do DAH

˙ Ó

Upbeat dotted quarter notes lead to a downbeat and should be accented.

2.8 Accented upbeat:

& c ‰ .œ> œ.

œ.

DAH dot dot

œ. œ.

Jœ .œb>dot dot do DAH

œ Œ ÓDAHT

The upbeats of a jazz line generally get accented, but the shape of the line is the most important thing toconsider when determining accents. The top notes of a line and any changes of direction call for an ac-cent. The resulting accents will often suggest another pulse and help create the polyrhythms inherent injazz. In the following example (which is closely related to a favorite line of Charlie Parker) the top notesof the line should receive an accent. These accents create a counter-rhythm to the four quarter notes permeasure. The resulting rhythm is a series of dotted quarter notes. This kind of accenting is often called“bopping the top” of the lines.

The shape of the line is the most important thing toconsider when determining accents.

2.9 “Bopping the top:”

& c.œ

‰ jœ#> 3œ œb œ

.œ .œ .œœ> œ œ# œ> œ œ# œn> œb.œ .œ jœ

œ œ> œ# œ œb> œ œ œ^

Many of the tunes used for jazz improvisations are show tunes, and are often written with very simplemelodic rhythms. Jazz improvisers will almost never play the melody the way it is written in sheet music.Often, the first “improvements” made by a jazz improviser are to the melodic rhythms. Important notes



which typically land on the downbeat will be moved ahead to the upbeat. The anticipation pushes themelody forward, and calls attention to the more common upbeat accents. While some notes are playedearlier, others are delayed, and others may be hurried along to make up for differences.

Here is a five-note melodic idea as it may appear on sheet music.

2.10a “Square melody”

& c œ œ œ œ ˙ ÓAnd here are a number of ways a jazz musician may alter the rhythms to “jazz them up.”

2.10b Delaying the first note, 2.10c Anticipating beats three and one.anticipating the final note.

& c ‰ jœ œ.

œ.

œ œ>

˙ Ó & c œ.

œ œ>

œ œ œ>

˙ Ó

2.10d More anticipation. 2.10e Downbeat followed by upbeats.

& c œ œ ‰ jœ>

œ œ œ>

˙ Ó & c œ.

œ œ ‰ jœ ‰ jœ>

˙ Ó

2.10f 3 down, 2 up. 2.10g Starting with upbeat.

& c œ.

œ.

œ œ ‰ jœ>

˙ Ó & c Ó Œ ‰ jœ.

‰ .œ>

œ-

œ œ^

2.10h Using a repeated note (iteration). 2.10c Delayed by a beat and the rest hurried along.

& c ‰ jœ>

œ œ>œ œ>œ œ^ ∑ & c Œ œ

^œ œ œ œ

^ ∑

2.10j Ending on a downbeat preceded by an accented dotted quarter.

& c œ.

œ. jœ .œ

>œ^ Œ Ó

Long notes, any value from a dotted quarter note and above, are usually played forte-piano (Í). Theremay be a slight crescendo at the end of the note into either the cut-off or the next melodic pitch. This is



more prevalent in ensemble work than in improvisation and will vary in intensity depending on the en-semble.

In early baroque music, articulations and phrase markings were not included. The player was expected toknow how to phrase and articulate in the style. The same is true for much of the music written for jazzbands. The jazz musicians were expected to see the notes and interpret them in a jazz style. Probably fewof the earlier jazz musicians thought a great deal of exactly what things went in to making the musicsound like jazz, relying on their ears to imitate and govern their decisions. In a rehearsal recently, a sea-soned professional was reluctant to provide verbal details on how to articulate certain unmarked pas-sages. He then played the passages for the younger players. He expressed surprise at playing quarternotes short and playing all the long notes forte-piano. For him this was just part of how to make it soundlike jazz. Historically, this and many other aspects of jazz have been learned and passed on aurally:learning by imitating the master. This underscores another major difference in the European andAfrican cultures. The European tradition of learning involves the written page. The African oral traditiondepends on the master/apprentice approach. There are no African drumming etude books in theAfrican drum tradition.

Most contemporary music published for jazz ensembles includes all articulation markings, in part due tothe large education market. While this might insure a more accurate performance of the composer’sideas, there is still no substitute for listening to the style and imitating. One disadvantage to readingcharts with all articulations written in is the students never develop the critical skills to make the appro-priate articulations and phrasing decisions themselves. There is no substitute for the aural experience.

There is no substitute for the aural experience.

RHYTHMIC ROLES

For a basketball, baseball or soccer team to be successful, each member must understand their role andits relationship to the rest of the team. This is also true in the African drum ensemble and the jazzrhythm section. What follows is some general guidelines for the roles and responsibilities within the jazzrhythm section. With any jazz performance, depending on the players, the historical period and thetime of night, these lines of demarcation may be clear or deliberately obscured. Determining the basicroles will help in understanding the foundation and help to understand the deviations from the norm.

The pulse is generated from two parts of the rhythm section: the ride cymbal and the bass. The ridecymbal pattern can be many variations of quarter and eighth note combinations, but fundamentally hasto supply the quarter note pulse. Without the solid pulse as a foundation there can be no subdivision ofthat pulse. The bass player locks in to that quarter note pulse and “walks” a quarter note accompani-ment. The backbeat is emphasized by the drummer’s hi-hat closing on beats two and four. The bassplayer may slightly emphasize the backbeat by accenting two and four with the hi-hat. Once these rolesare established, the subdivisions can be easily felt.

The drummer may add a pair of eighth notes on the back beats creating what is generally consideredthe jazz “ride” pattern. This may be only a point of departure for many great jazz drummers. The pair ofeighth notes may shift and in doing so imply time signatures other than

44. Within an eight measure

phrase you may hear:



2.11 Ride cymbal pattern implying multiple mixed meters:

c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

The bass player adds to this by playing subdivisions between his quarter notes. Often these notes aremuffled or ghosted. These little spit notes have more importance as rhythm than pitch.

2.12 Bass line with ghosted “spit” notes:

? b c œ œ ¿ œ œn ¿ œ œ œb ¿ œn3

œ ¿ ¿ œ œ œb ¿ œ œb œ ¿ œn œb Œ Ó

In a rock beat, the bass drum has the role of providing the pulse while the snare has the backbeat. In aswing feel, the pulse is played by the ride cymbal while the hi-hat plays the backbeat. That leaves thesnare drum to accent other rhythmic figures. Some possible snare drum combinations include:

2.13 “Charleston” rhythm:

c .œ Jœ Ó

Anticipation of beats one and three:

2.14 Anticipated accompaniment rhythm:

c Œ ‰ Jœ Œ ‰ Jœ

A combination of “Charleston” rhythm displaced and on the beat:

2.15 Combination accompaniment rhythm:

c ‰ Jœ Œ œ Œ œ ‰ Jœ Ó

The guitarist and pianist can reinforce the snare drum rhythms shown in 2.13-2.15. The use of combina-tions of quarter note and dotted quarter rhythms add to the polyrhythmic character. Listen to some ofthe great jazz rhythm sections and how they develop the rhythmic interplay while accompanying(“comping” for) a soloist. The rhythm sections of the Miles Davis Quintet from the 1950’s with Philly



Joe Jones on drums, Paul Chambers on bass, and either Red Garland or Wynton Kelly on piano provideexcellent listening models. Ex. 2.16 represents possible accompaniment figures which could be playedby the guitarist or pianist and maybe also the snare drum using rhythms from ex. 2.13-2.15. It is unlikelythat all would decide to play the same figures without prior planning. The structural places in a piece willusually be anticipated with an upbeat of four accent. In the blues, this may occur at the end of four mea-sure phrases as shown below.

2.16 Possible “comping” patterns for Blues:

& c1

.Û JÛ ÓF7 .Û JÛ ÓBb7 ‰ JÛ Œ Û ŒF7 .Û JÛ ‰ JÛ ‰ JÛCm7 F7 Bb7

&5

.Û JÛ ÓBb7 ‰ JÛ Œ .Û JÛG#°7/B F7 Œ ‰ JÛ Œ ‰ JÛ

Aø7 Œ ‰ JÛ ‰ JÛ ‰ JÛD7 Gm7

&9

.Û JÛ ÓGm7 ‰ JÛ Œ Û Û ‰ JÛC7 F7

| ‰ .ÛD7 .Û JÛ |Gm7 C7

There are times when long streams of dotted quarter notes may be superimposed over the commontime groove. Listen particularly to the rhythm sections of the John Coltrane Quartet where Elvin Joneson drums and McCoy Tyner on piano play streams of dotted quarter rhythms over the steady commontime bass lines. Ex. 2.17 illustrates the dotted quarter rhythm over the last four measure of the blues.

2.17 Last four measures of Blues:

&?

b

b

c

c

Œ œœœœjœœœœ ....œœœœbb

Gm9 Db13

œ œ œ œn

....œœœœjœœœœ œœœœ œœœœbbb

C9sus4 C13 Gb13

œ œ œ œb‰ jœœœœŒ ....œœœœn#

jœœœœn

Fmaj7 D7b13

#9

Gm9

œ œb œ œbœœœœ œœœœ ‰ ....œœœœbbb

C13 Gb13

œ œ œ œbœœœœb Œ Ó

F13

œ Œ Ó

The Miles Davis Quintet rhythm sections of the early 1960’s with Ron Carter on bass, Tony Williams ondrums and Herbie Hancock on piano stretched the boundaries of polyrhythms more than ever before,creating great waves of rhythmic dissonance between the drums and piano and the steady pulse fromthe bass. This group has recorded some trio and quintet material together in the 1970’s and 1980’s.When listening to them stretch rhythmic boundaries, note how often the eight measure phrase served asa guidepost for resolving rhythmic dissonances.

The bass drum in contemporary jazz is usually used to accent major structural points or strong accentsin the music. It is rare in modern playing to hear the bass drum play the “four on the floor” four beatsper measure on a swing feel.

The jazz improviser, as the improviser in the African drum ensemble, plays a variety of rhythms overthe top of the rhythm section. The basic rhythmic currency for swing improvisation is the swing eighth,but rhythmic variety is created in a number of ways. Accent groupings of two eighth notes correspond tothe quarter pulse while accent groupings of three eighth notes refers to the secondary dotted quarter



pulse. A jazz improviser, having established the eighth note, will use any combination of other subdivi-sions and rhythmic units.

I often ask, when standing in front of a student band, “Who keeps the time in the band.” Almost every-one in the band will point at the drummer. It is everyone’s job to keep the time. A drummer cannot fixthe bad time played by one, much less sixteen other musicians. When I was a young novice player, I satin with an outstanding bass player and drummer. They did not swing nearly as well when I played withthem. It was clearly not them, but me. It was a valuable learning experience. A saxophone student in animprovisation class once complained that the rhythm section was not keeping good time and would oc-casionally play wrong chords. The next time through the tune I stopped the rhythm section and allowedthe saxophone to play an unaccompanied chorus. He could not keep the time or the changes by him-self. It pointed out something to all of the class: keeping time and the chords was everyone’s responsibil-ity. We practiced a drill for a few rehearsals to gain control of these elements. Every one played onechorus with accompaniment and one without until we all could make it through the form keeping thetime and playing the chord changes convincingly. Drummers learned to play the tune and keep theform on their solos.

HARMONIC RHYTHM in JAZZ PERFORMANCE

Harmonic rhythm is the rhythm of the harmonic changes. If chords change every two beats, the har-monic rhythm is half-notes. If chords change every four beats, the harmonic rhythm is whole notes.There is a variety of harmonic rhythm in jazz performances and not all of it corresponds to the meteror to where it is written on the page.

If there is one chord per measure in 44, we expect the bass to play the root of the chord on beat one,

corresponding to where the chord symbol is notated on the page. The pianist or guitarist may anticipateeach chord symbol playing the changes on the upbeat of four. This is part of the polyrhythmic energyof a jazz rhythm section. The melody or improvised solo may play with the bass, with the accompani-ment instruments, anticipate the changes even more, or delay the resolution into the next measure. It isimportant to remember this when analyzing written solos. We confine the written notes of a line to mea-sures for reading ease, but the harmonic implications are not always confined to those measures. Thevertical alignment of notes may often seem senseless, but when viewed in the larger harmonic schemethe soloists may have anticipated or suspended the melodic material of one chord over another chord.This is not unique to jazz; church hymnals and music from all style periods are full of suspensions andanticipations. Jazz suspensions may involve several notes. Do not fall into the trap of labeling everythingby its vertical arrangement. Music is heard and conceived in a linear manner and should be studied inthe same way.

Music is heard and conceived in a linear manner andshould be studied in the same way.

Below is an example of how different harmonic rhythms may be suggested in a jazz performance. Thediscrepancy created by the different players making the chord changes occur at different times is a largepart of what makes the jazz performance interesting. The rhythmic and melodic pieces sometimes agreeand sometimes clash, creating waves of consonance and dissonance.

A chord chart may show the harmonic rhythm as whole notes: Dm7 for four beats, G7 for four beats andC major 7 for eight beats. The bass player may directly follow the chord chart playing the roots of thechords on the downbeats as shown. The pianist or guitarist may anticipate or delay the changes. In theexample below, the pianist anticipates the Dm7, delays the G7, and anticipates the C major 7. A soloisthas more freedom and may anticipate or delay a great deal when creating his lines. The trumpet linebegins the Dm7 on the upbeat, and the 3-5-7-9 arpeggio of the Dm7 begins on the fourth beat and spillsover into the G7 measure. G7 is clearly heard on the third beat with a 3-5-7-b9 arpeggio and again the



line spills into the next measure before coming to rest on the C major, a half note later than the chordchart suggests. Being aware that all music is experienced in linear time will help in understanding thenecessity of linear and not strictly vertical analysis of music.

2.18 Harmonic rhythm discrepancies in jazz performance:

Trumpet

Piano

Bass

&

&?

c

c

cJÛDm7

‰ Jœ œ œ œ œb œ œDm7

Û ‰ JÛ |œ œ œ œ#Dm7

œ œ œ œ œ œ œ œbG7

‰ JÛ Œ .Û JÛG7 Cmaj7

œ œ œ œbG7

œ œ œ œ# ˙Cmaj7

.Û JÛ Ó

œ œ ˙Cmaj7

THE LARGER VIEW: FORM as RHYTHMIC STRUCTURE

Many music theory books include a rhythmic subdivision chart showing the whole note subdivided intotwo halves, the halves into quarters, and so on down to sixteenths or maybe thirty-second notes. It is bet-ter to begin with something larger than the whole note for an overview of rhythmic subdivision. A wholenote is a small unit of time in relationship to the entire piece, so a better place to begin may be with theentire piece.

The first line (1.) of the graph below, represents entire piece from beginning to end, Imagine that theentire piece represents one unit of time, which will be five minutes for the sake of this discussion. Thesecond line (2.) shows the piece divided into five choruses or repetitions of an AABA form. Each chorusrepresents a subdivision of the original time unit. Most of the jazz standard tunes used as vehicles forimprovisation fall into one of the following forms:

BLUES: usually 12 measures, sometimes 16 or 24 measures.

AABA: all usually 8 measures in length. The second and last A section may be slightly differentthan the first. The second A may lead to the B, and the last A provides some closing mate-rial. (Example AABA tune: I Got Rhythm)

ABAB1 : all usually 8 measures in length. The second B may be slightly different than the first.The first B leads back down to the second A, where the second B provides some closing ma-terial. (Example ABAB tune: Just Friends)

(More will be discussed regarding form and its relationship to

harmonic analysis in a later chapter.)

By zooming in on one chorus (3.), a subdivision of the original unit, its own subdivision is revealed.Each chorus is further subdivided into four eight measure phrases labeled AABA. Zooming in anotherpower at (4.) reveals the A section further subdivided into eight different measures. This eight measurephrase can be heard as four two measure phrases or two four measure phrases. It is important to be ableto hear and respond musically within these larger units of time, not just the smaller units of note valueswithin a measure.



2.19 Large form rhythmic subdivision:

ENTIRE PIECE

A8 measure phrase

A8 measure phrase

B8 measure phrase

A8 measure phrase

2 measure phrase 2 measure phrase 4 measure phrase

CHORUS I(AABA form)

CHORUS II(AABA form)

CHORUS III(AABA form)

CHORUS IV(AABA form)

CHORUS V(AABA form)

1.

2.

3.

4.

The eight measure fragment (4.) from the previous graph can be divided into one-measure segments.The single measure is represented by the whole note in the graph below. This single measure in 2.20must be viewed in the larger scope as a subdivision of an eight measure phrase (4.) which is a part of athirty-two measure AABA form (3.) which may repeat several times to create the entire piece (1. & 2.)With this larger perspective, the discussion of the whole note chart showing the note values and rela-tionships is appropriate.

2.20 Single measure rhythmic subdivision

w˙ ˙

œ œ œ œ

œ œ œ œ œ œ œ œ3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ



Seasoned improvisers and composers sense and feel larger units of time. An improviser learns to feelan entire thirty two measure form. Sometimes a musician will improvise several times through the form,sensing one hundred and twenty eight measures, building his ideas to a logical conclusion. A improvisermay learn to feel a thirty-two measure form as one unit of a four-chorus improvisation. Within eachform, the eight measure phrase is shaped by all members of the band. In fact, just as a beginning musi-cian can tell the difference between beats one and four, an experienced jazz musician senses the differ-ence between the first A and the last A of an AABA form. With this perspective knowing where beatthree is in a measure is analogous to knowing where the B section is in an AABA form. The B is thethird beat of the form, the form being an augmentation of the measure. This takes some time to master,as any beginning improviser who has lost the form will attest.

To continue this example, say the jazz performance of this piece lasts for five minutes (the Entire Piece).The band plays the melody of the song for the first minute (Chorus I: AABA). The alto sax improvisesover the form for a minute (Chorus II), followed by the trumpet (Chorus III), and the piano (Chorus IV).The band plays the melody again at the end (Chorus V). The entire piece being subdivided into fiveparts makes the jazz performance very much like the five paragraph paper form as shown below:

Jazz Performance Five Paragraph Paper

Statement of the melody: Introduces the form andthemes on which the band will improvise.

Introductory paragraph: Tell them what you aregoing to tell them.

Alto solo: The alto player expresses his version ofthe melody and harmony.

Paragraph One: Discuss one aspect of the subject.

Trumpet solo: The trumpet player expresses hisversion of the melody and harmony.

Paragraph Two: Discuss another aspect of the sub-ject.

Piano solo: The piano player expresses his ver-sion of the melody and harmony.

Paragraph Three: Discuss another aspect of thesubject.

Restatement of the melody: Reminds the listenerof original themes.

Closing paragraph: Tell them what you told them.

PLACEMENT of the NOTES

One deficiency of the standard notation system is its inability to show minute variances in placement ofindividual notes. A simple line composed of eighth notes can be played in different ways depending onthe placement of those notes in relationship to the pulse. Different players will, in varied musical set-tings, play slightly ahead of, right on top of, or slightly behind the actual pulse. These variances in thehands of mature players give life to the performance. In younger players it may be an underdevelopedsense of time, and they actually may be rushing or dragging the pulse.

There are some players who consistently play slightly ahead of the beat which can give the music a for-ward drive. They are not necessarily rushing the beat, but just pushing it ahead by playing “on top” ofthe beat. There are other players who, no matter how the rhythm section is playing around them seemto play their notes squarely in the middle of the pulse. Others can artfully play just behind the band,creating at once a laid-back feeling and a tension from the pull created by the rhythmic discrepancy be-tween the soloist and the rest of the band. Anyone who has heard music created on computers andquantized to “perfect” rhythmic units knows how inhuman perfection sounds. The push-pull inaccuraciesare part of the life-blood of the music. But do not throw your metronomes away quite yet. Mature play-ers gain a great sense of where the pulse is and adapt to musical situations. They can shift from playingahead to playing behind, always knowing where the actual pulse is. To be able to play around the pulseeffectively and convincingly, one has to know where that pulse is. A beginning improviser should prac-tice playing with a metronome and develop a strong sense of pulse before attempting to play aroundthat pulse.



A beginning improviser should practice playing with ametronome and develop a strong sense of pulse before

attempting to play around that pulse.

SYNCOPATION STUDIES

The eighth note is the basic unit of currency for jazz, but it is the groupings of the eighth notes that cre-ate the rhythmic business. Syncopation is created by a shift of the accent in a musical passage, wherebeats that were normally weak may now be accented. Typically in the European model, within a quarternote pulse, every other eighth note is on an accented down beat. By accenting every third eighth note, ashift will occur contradicting the basic pulse. This is the most fundamental type of syncopation used injazz: the dotted quarter pulse (grouping of three eighth notes) against the quarter note pulse (groupingof two eighth notes). This is one of the many rhythmic characteristics borrowed from African culture. Injazz performances, the polyrhythms usually fit into the eight bar phrases defined by the forms of manyshow and pop tunes which are the basis for so much of the jazz literature. Much of the syncopated dis-sonance with the primary pulse is resolved after four or eight measures. There are thirty-two eighth notesin a four measure phrase which divides into sixteen even quarter note beats. Thirty-two is not divisibleby three (the dotted quarter pulse) without a remainder of two. The jazz improviser/composer uses mix-tures of threes (dotted quarter pulse) and twos (quarter pulse) to create the cross-rhythms associatedwith jazz.

The dotted quarter note imposition can occur anywhere in the measure and can be articulated in manyways. In the following example, the dotted quarter rhythm occurs on beat one. It is shown with four dif-ferent articulations: long-long, long-short, short-long, and short-short. This rhythm is typically called the“Charleston Rhythm.”

2.21 Different articulations of the “Charleston Rhythm”

c .œ Jœ ˙ .œ Jœ Ó œ ‰ Jœ ˙ œ ‰ Jœ Ó

A dotted quarter note is equal to three eighth notes, and three can be expressed as 3, 2 + 1, 1 + 2 and 1+ 1 + 1. In musical notation that would be a dotted quarter (3), a quarter and an eighth (2 + 1), andeighth and a quarter (1 + 2), and three individual eighth notes (1 + 1 + 1). In many musical passageswhere the dotted quarter pulse “Charleston Rhythm” is implied, it may be divided into any of thesecombinations:

2.22 Variations of the “Charleston Rhythm”

(3) (2 + 1) (1 + 2) (1 + 1 + 1)c .œ Jœ ˙ œ œ œ ˙ œ œ ‰ Jœ ˙ œ œ œ œ ˙



Negative space is implied space created by a positive image. Below are four black boxes (positivespace). The negative space, a white cross, is also clearly visible and important to the image.

2.23 Negative space

Visual artists depend on the recognition of negative space. The concept of negative space is also impor-tant in music. Any pitches that are played (positive space) may imply other pitches that are not played.A certain pitch may be stressed by playing a number of pitches around that pitch that point to thatpitch, while never actually playing the pitch. This type of manipulation is one thing that creates dra-matic interest in the music. As with pitches, any rhythm that is played (positive space) may imply arhythm not played (negative space).

The dotted quarter “Charleston Rhythm” is shown on the top line repeated over a four measure phrase,creating a constant dotted quarter pulse against the quarter note pulse. The bottom line in the followingexamples shows the rhythm of the notes that are not being played by the top line. The bottom line isthen the negative space of the top line.

Try dividing the class into two sections. Have one section tap the top lines and the other tap the bottomlines on this and following examples. Switch every four measures.

2.24 Dotted quarter “Charleston Rhythm” extended over four measure phrase shown withimplied negative space rhythms:

c

c

.œ Jœ œ œ

‰ Jœ œ œ œ ‰ JœJœ .œ .œ Jœ

œ œ œ ‰ Jœ œ

œ œ Jœ .œ

œ œ ‰ Jœ œ œ œ

.œ Jœ œ œ

‰ Jœ œ œ œ ‰ Jœ

œ Œ Ó

œ Œ Ó

This may sound like a mathematical game, and it can be, but here are some musical examples that occurfrequently and naturally. Dexter Gordon, in a blues improvisation, and Dave Brubeck both used thenegative space rhythm from ex. 2.24.

2.25

& bb c.œ .œ .œ‰ jœ œ. œ œb ‰ jœ

.œ ˙œ œ œb Ó

.œ .œ .œ‰ jœ œ. œ œb Œ

.œ ˙œbX œ œ Ó



2.26

& c.œ .œ .œ‰ Jœ œ œ œ ‰ Jœ

.œ ˙œ œ œ Ó

The dotted quarter rhythm from ex. 2.24 can be displaced by an eighth note creating the following lineshown with positive and negative rhythms.

2.27 Dotted quarter rhythm displaced and extended over four measure phrase shown withimplied negative space rhythms:

c

c

‰ .œ .œ Jœ

œ œ œ ‰ Jœ œ

œ œ Jœ .œ


.œ Jœ œ œ


‰ .œ .œ Jœ

œ œ œ ‰ Jœ œ

œ Œ Ó

œ Œ Ó

Duke used the negative rhythm from ex. 2.27 in the piece It Don’t Mean a Thing if it Ain’t Got That

Swing.

2.28

& bb c‰ .œ .œ jœŒ œ œ ‰ Jœ œ

œ œ jœ .œœ œ ‰ Jœ œ œ œ

.œ jœ œ œ‰ Jœ œ œ œ ‰ Jœ

∑œ Œ Ó

It appears at this point that if you use these syncopated

rhythms, you will be playing either The Charleston, or It Don’tMean a Thing if it Ain’t Got That Swing!



The dotted quarter rhythm from ex. 2.24 can be displaced by a quarter note creating the following lineshown with positive and negative rhythms.

2.29 Dotted quarter rhythm displaced and extended over four measure phrase shown withimplied negative space rhythms:

c

c

Œ œ Jœ .œ


.œ Jœ œ œ


‰ .œ .œ Jœ

œ œ œ ‰ Jœ œ

œ œ Jœ .œ


œ Œ Ó

œ Œ Ó

You can see the negative rhythm from ex. 2.29 in the following melody composed by Sonny Rollins.

2.30

& c ‰ jœ œ œ# œ œ œ œ œ œ ‰ Jœ œb œ œn ‰ Jœ œb œ œn ‰ Jœ ˙ .œb jœ

The next stage in developing a sense for these rhythms involves understanding the subdivision of thedotted quarter notes. As discussed previously and shown below, the dotted quarter note equals threeeighth notes which can be expressed as 3, 2 + 1, 1 + 2 and 1 + 1 + 1.

2.31 Variations of the dotted eighth note “Charleston Rhythm”

(3) (2 + 1) (1 + 2) (1 + 1 + 1)c .œ Jœ ˙ œ œ œ ˙ œ œ ‰ Jœ ˙ œ œ œ œ ˙

More musical rhythmic material can be created by substituting combinations of the variations to thedotted quarters in ex. 2.24, 2.27, 2.29. In the following several examples, every other dotted quarter valueis substituted with another combination of a quarter and an eighth (2 + 1), and eighth and a quarter (1 +2), or three individual eighth notes (1 + 1 + 1). Changing the rhythm will also change the implied nega-tive space rhythm.

2.32 Ex. 2.24 with the pattern: (2 + 1), 3, (2 + 1), 3, etc.

c

c

œ œ œ œ œ

‰ Jœ Œ œ œ ‰ JœJœ .œ œ œ œ

Œ œ œ ‰ Jœ Œ

œ œ Jœ .œ

œ œ ‰ Jœ Œ œ œ

œ œ œ œ œ

‰ Jœ Œ œ œ ‰ Jœ

œ Œ Ó

œ Œ Ó




c

c

‰ Jœ ‰ Jœ .œ Jœ

œ œ ‰ Jœ œ

‰ Jœ œ ‰ Jœ ‰ Jœ

œ ‰ Jœ œ œ

.œ Jœ ‰ Jœ œ

‰ Jœ œ œ ‰ Jœ

‰ Jœ ‰ Jœ .œ Jœ

œ œ ‰ Jœ œ

œ Œ Ó

œ Œ Ó


c

c

Œ œ Jœ .œ


œ œ œ œ œ

‰ Jœ Œ œ œ ‰ JœJœ .œ œ œ œ

Œ œ œ ‰ Jœ Œ

œ œ Jœ .œ


œ Œ Ó

œ Œ Ó


c

c


Œ œ œ œ Œ

‰ .œ œ œ ‰ Jœ

œ œ œ Œ œ

œ œ œ ‰ .œ

œ œ Œ œ œ œ


Œ œ œ œ Œ

œ Œ Ó

œ Œ Ó

If you are singing along, you probably noticed that the negative

space to ex 2.35 resembles the Dizzy Gillespie tune Salt Peanuts.

2.36

& c.œ .œ

Œ œb œb œ ŒSalt Pea nuts

.œ jœ

œb œb œ ÓSalt Pea nuts




c

c

‰ Jœ œ .œ Jœ

œ ‰ Jœ ‰ Jœ œ

œ œ œ œ œ

‰ Jœ ‰ Jœ œ ‰ Jœ

.œ Jœ œ œ

‰ Jœ œ ‰ Jœ ‰ Jœ

œ œ œ .œ Jœ

œ ‰ Jœ ‰ Jœ œ

œ Œ Ó

œ Œ Ó


c

c

Œ œ œ ‰ .œ

œ œ Œ œ œ œ


Œ œ œ œ Œ

‰ .œ œ œ ‰ Jœ

œ œ œ Œ œ

œ œ œ ‰ .œ

œ œ Œ œ œ œ

œ Œ Ó

œ Œ Ó

2.39 Ex. 2.24 with the pattern: (1 + 1 + 1), 3, (1 + 1 + 1), 3, etc.

c

c

œ œ œ œ œ œ œ

Ó œ œ ŒJœ .œ œ œ œ œ

Œ œ œ Ó

œ œ œ Jœ .œ

œ œ Œ Œ œ œ


Ó œ œ Œ

œ Œ Ó

œ Œ Ó


c

c

‰ Jœ œ œ .œ Jœ

œ Œ ‰ Jœ œ


Œ ‰ Jœ œ Œ

.œ Jœ œ œ œ

‰ Jœ œ Œ ‰ Jœ

œ œ œ œ .œ Jœ

œ Œ ‰ Jœ œ

œ Œ Ó

œ Œ Ó




c

c

Œ œ œ Jœ .œ

œ œ Œ Œ œ œ


Ó œ œ ŒJœ .œ œ œ œ œ

Œ œ œ Ó

œ œ œ Jœ .œ

œ œ Œ Œ œ œ

œ Œ Ó

œ Œ Ó

A musician involved in the creation of music needs several rhythmic skills including:• a strong sense of pulse and its subdivision• a strong sense of any secondary polyrhythmic pulses and their subdivisions• the ability to aurally recognize and create music using rhythmic material• the ability to visually recognize and interpret rhythmic material in written music

Singing and tapping the rhythmic examples in this chapter will help develop the rhythmic indepen-dence, the aural and visual recognition needed to read, invent and interpret rhythmic musical material.

SYNCOPATION in the JAZZ WALTZ

The majority of the music played by jazz musicians is in common time, four beats to the measure. Jazzmusicians do have a version of the waltz that goes beyond “oom-pah-pah.” The syncopation principle isthe same. If the primary pulse is a quarter note, the secondary pulse is a dotted quarter. Three quarternotes per measure defines the waltz. A superimposition of two dotted quarters creates the feeling of

68

meter with the first dotted quarter on beat one, the second on the upbeat of two. Displacing the two dot-ted quarters by and eighth note puts a dotted quarter on the upbeat of beat one and another on beatthree. All three rhythms are shown in ex. 2.42. It may help to hear the combination of dotted quarterrhythms by singing “Who parked the car?” as shown.

2.42 Jazz Waltz

&?

43

43

43

..

..

..

‰ ....œœœœ œœœœparked car?

.œ .œWho theœ œ œ

‰ ....œœœœ œœœœparked car?

.œ .œWho theœ œ œ



POLYRHYTHMS in PERFORMANCE

All of the discussion of possible rhythmic variations and superimpositions are meaningless and merelymathematical games without understanding and recognizing their place in musical performance. Manyask, after studying the previous material, how to get these ideas into their own playing. It is beneficial tostudy several examples from jazz performances to see how great jazz artists incorporate polyrhythms intheir improvisations and compositions. Several examples have already been shown from DexterGordon (ex. 2.25), Dave Brubeck (ex. 2.26), Duke Ellington (ex. 2.28) and Sonny Rollins (ex. 2.30).

To learn language or a craft of any kind, the proven method is to study the masters. To develop individ-ual vocabulary within that craft one must borrow from the vocabulary of those masters. This may seemcontradictory to develop individual vocabulary by borrowing from others. What one does with the bor-rowed material is what separates mimicking and parroting from true personal development.

I composed a blues that used nothing but Parker lines, stolen to show students ways to develop ideasfrom borrowed material. I called the piece Ornithelestes which means literally “Bird-stealer.” Anyonewho plays jazz is just that, whether they intended to or not, as Parker, the “Bird,” has influenced so manyjazz improvisers.

The following example is created with a line borrowed from Parker that has a different conclusionadded. Beginning with the pick-up notes, the melodic accents are based on the dotted quarter pulseshown creating a secondary pulse to the primary quarter note pulse of the bass line.

2.43 Line similar to Charlie Parker line:

&?

c

c

.œ‰ jœ#

> 3œ œb œ

∑

.œ .œ .œœ> œ œ# œ> œ œ# œn> œb

œ œ œb œnGm7

.œ .œ jœœ œ> œ# œ œb> œ œ œ

^

œ œ œb œn œC7 F

The superimposed dotted quarter note pulse need not be constant. Shifting between combinations ofquarter and dotted quarter groupings makes this improvised line by Miles Davis interesting. The implieddivisions are shown above the line for reference.

2.44

& b c˙ .œ .œ

œ œ œ œ œ> œ œ..œ .œ

‰ Jœ œ> œ œ. ‰ Jœœ .œ .œœ> œ œ œ œ

. Œ

Clifford Brown used the dotted quarter note pulse to break up an otherwise straight forward eighth noteline. The idea began in the second complete measure and for the two measures Brown implied 3, (2 +1), 3, (2 + 1), 3, and 2 before continuing the line with eighth notes. This idea recurred in many formsthroughout this solo.



2.45

& b c Ó Œ 3œ œ œ œb œ œb œ œb œ œ .œb Jœ œ œ œ jœ œ jœ .œb Jœ

& b œ œ œb œ œn œ œ œb œb œ Œ Ó

Displaced accents are created by odd combinations of twos and threes and give the music the excite-ment and unpredictability that makes listening challenging and interesting. Parker, in the melody to Au

Privave began with suggested dotted quarter groupings and slipped in a pair of displaced quarter notesin the ex 2.46 below. Parker continued the play on the dotted quarter note in mm.5-6 of the same piece,shown in ex. 2.47.

2.46

& b c.œ .œ .œ

œ œ œ œ Œ œ œ#œ œ .œ

œ œ ‰ jœ ‰ jœ œ œ

2.47

& b c.œ .œ .œ.œn Jœ ‰ Jœ œb

.œ œ œ˙ œb œ œ œ

A pair of superimposed dotted quarter rhythms are sequenced in this improvised example from CharlieParker.

2.48

& bb c‰ .œ .œ .œ‰ jœ

3œ œ œ œ ‰ jœœ Ó

3œ œ œ œ Ó‰ .œ .œ .œ‰ jœb

3œ œ œ œ ‰ jœœ Ó

3œ œ œ œ Ó



In the first two measures of this improvisation, Parker emphasized the downbeats one and three by com-ing to rest on chord tones and using notes with longer values. The second two measures had no melodicmotion as Parker just drew attention to the rhythmic superimposition of dotted quarter values.

2.49

& b c˙ ˙

œ œ œ# œ œ œn˙ ˙œ œ œ œ œ œ œ œ œ

.œ .œ .œ

.œ jœ œ œ.œ ˙

jœ .œ ˙

Parker achieved a balance between on the beat and off thebeat material, with a sense of when to give the listener the

expected and when to give the unexpected.

In the melody to the blues tune Billie’s Bounce, Parker imposed a long passage of dotted quarter dis-placed accents. Ex. 2.50 shows the first three measures of the melody. Ex. 2.51 shows the accents impliedby the entire melody. Parker was inventive and dramatic in the development of his rhythmic ideas.Parker achieved a balance between on the beat and off the beat material, with a sense of when to givethe listener the expected and when to give the unexpected. Reducing the melody of Billie’s Bounce torhythmic notation alone helps to focus on the rhythmic development. Parker used strings of dottedquarter note superimpositions beginning on beat three of m.1, labeled (a). It occurred in the expositionof this idea in mm.1-3, (a) overlapped itself several times. After so many dotted quarter notes, one wouldexpect the first note of m.6 to be on beat two, but instead, Parker played it earlier on the upbeat of beatone creating a second motive (b) which is really a variation of motive (a). Parker then returned to thefirst rhythmic motive beginning on the third beat of m.6. Motive (a) returned beginning on the upbeatof beat three in m.8. Motive (b) returned on the downbeat of m.10 followed by the overlapping motive(a) in mm.11-12. The chart in ex. 2.51 does not show all the notes of the melody, simply the accents sug-gested by the melody.

2.50

& b c Ó Œ ‰ jœ

.œ .œ

œn œ œ œ# œ œ œ œ.œ .œ

œ œ ‰ .œ.œ .œ œ

œ ‰ jœ œ œ



2.51 Rhythmic outline of implied melodic accents:

c1

œ Œ .œ Jœ2

œ œ ‰ .œ3

œ ‰ Jœ œ œ4

œ Œ .œ Jœ

5

Ó .œ Jœ6

‰ .œ .œ Jœ7

Œ œ Œ ‰ Jœ8

œ Œ ‰ .œ

9

œ ‰ Jœ ˙10

œ ‰ Jœ Jœ .œ11

œ ‰ Jœ œ œ12

‰ .œ œ Œ

a. a.

a.

a.b.

b.

a.

a.

a.

A sense of mixed meter is created in ex. 2.52 by the assortment of irregular accents. These three mea-sures could have been notated as one measure of

68 followed by a measure of

44, another measure of

68,

and finally a measure of 24. Of course, Parker was not thinking of notational questions when he conceived

of this line.

2.52

& bb c.œ .œ œœ œ œ œ œ œ œn œ

œ ˙ .œœ œ# œ œb œ œn œ œ

.œ ˙

œ œ œ œ# œ Œ

Wes Montgomery’s live recording of Impression is a lesson in creating rhythmic expectations, develop-ing them, and adding surprising twists and turns. On the recording you can hear members of the bandlaugh at the way Montgomery set up a rhythmic idea only to turn it upside down or sideways just whenthey had it figured out. Ex. 2.53 is essentially a

34 idea played over the

44 measures. The idea was com-

pleted and reset at the end of the eight measure phrase, where he began again.

2.53 Dotted half-note accents:

& cfast swingœ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ>

& œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> ‰ .œ> œ œ etc.œ

Montgomery used the dotted quarter note implying 38 over

44. Again the conflict of the two pulses was

resolved at the end of the eight measure phrase.



2.54 Dotted quarter-note accents:

& cfast swing

Ó ‰ .œ .œ Jœ œ œ jœ .œ .œ jœ œ œ jœ .œ .œ jœ œ œ& jœ .œ .œ jœ œ œ jœ .œ .œ Jœ œ œ ˙ .œ Jœ œ

The repeated notes of ex. 2.55 make the focus of this idea clearly rhythmic. It is related to the rhythm inex. 2.53 but resolved the conflict at the end of every four rather than eight measure phrase. In the solo,Montgomery developed this idea over an AABA form and eventually developed the four quarter notemeasure and elicited a surprised response from the band.

2.55

& cfast swing

œ>

œ œ œ œk

œ>

œ œ œ œk

œ>

œ œ œ œk

œ>

œ œ œ œk

œk œ

kœbk

œk

& œ>œ œ œ œ

kœ>œ œ œ œ

kœ>œ œ œ œ

kœ>œ œ œ œ

kœk

œk

œk

œ#k

œ>œ œ œ

etc.

œk

Groupings of notes implying other pulses do not have to last for several measures to be interesting.There are countless examples of steady eighth note lines interrupted briefly with groupings like the onesfrom this Carl Fontana improvisation.

2.56 Dotted quarter-note accents:

& c.œ .œ

œ# œ œ œ.œ .œ

œ œ# œ œ œ œ.œ œ œ jœ

œb œ œ œ ‰ jœb ‰ jœ

Subdivision of a quarter note is not limited to a pair of eighth notes. Any number of combinations oc-cur. Dividing the pulse into three or triplets provides another opportunity for cross rhythms. Any com-bination of triplets divided evenly or unevenly in relationship to the pulse may be found in jazz impro-visations.



2.57 Groupings of triplet subdivision

ccc

3œ œ œ œ œ 3œ œ œ œ3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œ

œ œ œ œ

3œ œ œ œ 3œ œ œ œ œ3œ œ œ 3œ œ œ 3œ œ œ 3œ œ œ

œ œ œ œThis is a common blues idea played by thousands of guitarists in blues bars. It may be wickedly difficultto try to read figures like this but once heard, they are easily recognized.

2.58 Blues triplet cliché

& c 3œb œb œ œ œ 3œ œ œ œF7

3œb œb œ œ œ œ œ œ œn œ œ œb3

Ó

In 44, the metrical division is typically pairs or groups of four eighth notes. Ordering those eighth notes

into groups of three can create the cross rhythms and syncopated polyrhythms. When the pulse is sub-divided into triplets, notes are grouped into threes. In order to create the rhythmic dissonance andcross rhythms with triplets, then the notes must be grouped into pairs or fours.

Herbie Hancock’s groupings of triplets into sets of four in ex. 2.59 suggested half-note triplets or a 32

measure imposed in the space of a 44 measure. Freddie Hubbard, on the same recording used similar

rhythmic ideas at this point in Dolphin Dance.

2.59 Polyrhythms

& c˙ ˙ ˙

3

œ œb œ3

œb œ œ3

œ œ œ3

œ œ œBbpedal ˙ ˙ ˙

3

œb œ œ3

œ œ œ3

œ œb œ3

œb œ œ˙ ˙ ˙

3

œb œ œ3

œ œ œ3

œ œ# œ

3

œ œn œb

&˙ ˙ ˙

3

œ œb œ3

œ œ œb3

œ œb œ3

œ œ œnG7

3

œ œ œ Œ ÓCm

3 3 3

3

Grouping eighths into three note sets in 34 time may suggest an imposition of

68 over the

34 meter as shown

on the top line of ex. 2.60. Grouping the eighths into four note groupings takes the syncopation over themeasure line into the next measure, and may suggest

32 meter over the

34. This is traditionally called

“hemiola” and is shown on the second line of ex. 2.60. A common misconception is that all syn-copation is hemiola, but traditionally it is the implication of a

32 measure over two

34 measures, particu-



larly at cadential points. This idea was used frequently in Baroque music. Ex. 2.61 is an example ofhemiola at a cadential point from a piano sonata from the classical period composed by Mozart.

2.60 Metric equivalents: 68 over

32 over

34

43

43

43

.œ .œ˙ œœ œ œ

.œ .œœ ˙œ œ œ

2.61 Mozart: Piano Sonata in G major, K.283

&?

#

#43

43

œ œ œ œ œ œ œ œ œ œ œ œ

œœ Œ œœ

œ œ œ œ œ œ œ œ œ œ œ œŒ œ œ˙

œœ

Ò

Ò

Ò

ÒÒ Ò

Three different divisions of 34 time are suggested in the melodic excerpt below, In mm.1-2,

34 time is sug-

gested, mm.3-4 suggests 32 time and mm.5-6 suggests

68 time.

2.62 Bert Ligon: View From the Bridge

& 431

œ œb œbFø7

˙b ‰ JœBb13

b9

.œb jœb œEbmaj7

œ œb .œ jœ

&5

.œn œ œ œDø7

.œb .œnG13

b9

˙ ŒCmaj7

Bill Evans was an artist who could play a waltz, make it swing and yet never suggest 34 time. In ex. 2.63,

Evans used hemiola, the half note implied over the 34 meter. Later in the same solo, Evans suggested

68

meter as in ex. 2.64.

2.63 Hemiola:

& 43 jœ#˙ ˙œ œ œ œ# œ œ œ œ#

Gm7

˙œ œ œ œ

A7

˙ ˙œ œ œ œ# œ œ œ œDm7



2.64 Dotted Quarter Superimposition

& 43.œ .œœ œ œ œ œ œ œ œ

Bbmaj7

.œ .œ

œ# œ œ œœ œ œ œ

E7

JœAm7

Many jazz waltzes are played fast; much faster than the dancers would want at a wedding party. A fastwaltz can transform itself into a slower medium swing by something called metric modulation. In ex. 2.65the relationships are shown between the two meters. In

34 meter, the rhythm section may begin to play

series of dotted quarters and the rhythmic pattern shown on the top line. At the beginning of a new sec-tion or new eight bar phrase, they may switch to

44 meter where the dotted quarter becomes the new

quarter note, the top line rhythm becomes the typical ride pattern. Two measures of the 34 becomes one

measure of the 44. In order to get back to

34, the band may suggest quarter note triplets which, at the mod-

ulation point, become the quarter note of the original 34 meter.

2.65 Metric modulations between 34 and

44

43

43

43

ccc

.œ œ Jœ

.œ .œœ œ œ

.œ œ q.»qJœ

.œ .œœ œ œ

œ œ œ œ œ œœ œ œ œ

3œ œ œ 3œ œ œ

Michael Brecker used another modulation idea on his piece Escher Sketch, a Tale of Two Rhythms.The ride pattern (shown in

12 8 ) began the piece and remained constant. What changed was the other

rhythmic parts which alternately suggested 12 8 or the

44 meter. When the snare entered it played on two

and four of the 44 meter, making the original ride pattern the syncopated figure shown in the

44 measures.

The syncopated figure was created by groupings of 3, (2 + 1) repeated, and began again every threemeasures.

2.66 Metric Modulation

1612 c.Jœ œ œ .Jœ œ œ .Jœ œ œ .Jœ œx»xœ .œ œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œ

Herbie Hancock is an artist with an amazing command of cross rhythms and over the bar-line phrasing.In ex. 2.67, Hancock began with the rhythm shown in ex. 2.27 (in sixteenths rather than eight notes), em-phasizing dotted eighth notes over the quarter note pulse. In mm.4-8, the emphasis changed to quarternotes with groupings of four sixteenth notes. In mm.9-11, every fourth sixteenth was accented, but the ac-cent was displaced, making the quarter note accent displaced by one sixteenth note. In mm.11-12,Hancock accented two then three sixteenth notes and managed to come out, resolving the rhythmicconflict on the downbeat of m.13. The accents (shown above mm.11-12) created the 3:2 type rhythm dis-cussed in ex. 2.3, expanded and played over the measure line.



2.67 Extensive Cross-rhythms

& c.jœ

1

rœ œ œ œ.jœ .jœ .jœ .jœ .jœ .jœ

œ œ œ œ œ œ œ œ œ œ œ œ.jœ .jœ .jœ .jœ .jœ

œ œ œ œ œ œ œ œ œ œ œ œ.jœ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&` ` ` ` ` ` `5

œœœœœœ œ œœœœœœœ œ œ

œœœœœœ œ œœœœœœœ œ œ

œœœœœœ œ œœœœœœœœ œ

œœœœœ œ# œœœ œ# œœ≈ œ

>œœ

&√

9

œ œ> œ œ œ œ> œ œ

œ œ> œœ œ œ#> œ œ œ œ> œb œ œb œ#> œn œ# œn œ>œœ œn œb> œb œb

jœ .jœ jœ .jœ jœ .jœ jœœ> œ œ> œ œ œ> œ# œ> œ œ œ> œ œ> œ œ œ>

&√ .jœ jœ .jœ jœ .jœ jœ

12

œ œ#> œ œ œ> œ œ> œ œ œ> œ œ> œ œ œ>œ œ Œ Ó

Not all cross rhythms are created by groupings of three eighth notes over the 44 measures. Combinations

of two and three note groupings create interesting cross rhythms. Hancock divided two 44 measure into 2

+ 3 + (3 + 3) + 3 + 2 in the rhythmic ostinato foundation for Maiden Voyage.

2.68

? cœ .œ .œœ œ Jœ .œD9sus4

.œ .œ œ.œ Jœ œ œ œ œ

What is the drummer doing with his ride cymbal while the soloists are playing so many polyrhythms?Other polyrhythms may be implied that correspond or contradict the metric implications of the tuneand the soloist. If played with sensitivity, while never losing sight of the actual pulse and meter, it cancreate a swirling, intense forward drive while actually involving fewer notes. Less can be more. JackDeJohnnette never played the textbook ride pattern over the first chorus of Keith Jarrett’s solo on thestandard from which this was transcribed. He did play four quarters in a row later in the first chorus, but



not until m.18. Here is the first eight measure phrase with some of the polyrhythmic implications indi-cated by the smaller notes above the staff. These patterns can be found in ex. 2.27, 2.33 and 2.37.

2.69 Polyrhythmic Ride Pattern:

÷ c‰ .œ .œ .œ

1

‰ Jœ ‰ Jœ œ ‰ Jœ.œ .œ

2

Œ œ ‰ Jœ Œ.œ .œ .˙

3

œ ‰ Jœ Œ œ.˙

4

‰ Jœ œ œ ‰ Jœ

÷.˙

5

œ œ ‰ Jœ œ.˙ ˙

6

œ ‰ Jœ œ œ œ.˙

7

Œ œ ‰ Jœ œ˙ .˙

8

œ œ œ ‰ Jœ9

œ

CLAVE BEAT

The Clave beat is a rhythm which uses combinations of two and three eighth note groupings to create asyncopated pattern. The clave beat and its variations are extremely significant to the structure of someLatin music. The clave may not be as structurally significant as it is in some Latin music, but occurs fre-quently in jazz, pop, and funk styles.

There are two basic clave beats (3-2 clave and a 2-3 clave) and then several variations. The 3 and 2 donot refer to groupings of eighth notes, but to the number of notes played in a measure. The 3-2 clave hasthree notes played in the first measure and two in the second. The 2-3 clave is the reverse of the 3-2.

2.70 3-2 Clave: 2-3 Clave:

c .. .. .. ...œ Jœ œ œ Œ œ œ Œ Œ œ œ Œ .œ Jœ œ œ

A good way to get the feel of the clave beat is to play the clave beat with one hand, the negative spacerhythms in the other. Try reversing the hands and alternating four measure phrases after a few times.Playing in the holes, or the negative space helps to space the notes correctly.

2.71 3-2 Clave with two hands: 2-3 Clave with two hands:

c .. .. .. ...œ jœ œ œ‰ Jœ œ œ œ ‰ JœŒ œ œ Œœ œ ‰ Jœ ‰ Jœ œ œ Œ œ œ Œœ œ ‰ Jœ ‰ Jœ œ œ .œ jœ œ œ‰ Jœ œ œ œ ‰ Jœ

RH

LH

Another good way to practice the clave beat (or any of the rhythms discussed) is to alternate the rightand left hand playing the clave beat with accents. Again, playing all the notes in the measure helps rein-force the steady subdivision and helps sense the correct spacing.



2.72 3-2 Clave with two alternating hands: 2-3 Clave with two alternating hands:

c .. .. .. ..œ> œ œ œ> œ œ œ> œ œ œ œ> œ œ> œ œ œ œ œ œ> œ œ> œ œ œ œ> œ œ œ> œ œ œ> œRH

LH

There are several variations of the basic 3-2 and 2-3 clave beats. One or more of the notes may beshifted forward or backward by an eighth note. As with the original version, practicing playing with twohands will help integration and precision in playing these rhythms. In ex. 2.73, the second of the noteson the “2” side is shifted by an eighth note. The subdivisions of the two measures is 3 + 3 + 2 + 2 + 3 + 3for the 3-2 clave and 2 + 3 + 3 + 3 + 3 + 2 for the 2-3 clave.

2.73 3-2 Clave variation a: 2-3 Clave variation a:

c .. .. .. ...œ Jœ œ œ Œ œ Jœ .œ Œ œ Jœ .œ .œ Jœ œ œ

Ex. 2.74 shifts the first of the notes on the two side forward by on eighth note. The subdivision of the twomeasures is 3 + 3 + 3 + 3 + 2 + 2 for the 3-2 clave, and 1 + 3 + 2 + 2 + 3 + 3 + 2 for the 2-3 clave.

2.74 3-2 Clave variation b: 2-3 Clave variation b:

c .. .. .. ...œ Jœ œ œ ‰ .œ œ Œ ‰ .œ œ Œ .œ Jœ œ œThe following variations are created by delaying the last note on the “3” side combined with all threeversions of the “2” side.

2.75 3-2 Clave variations c, d, & e: 2-3 Clave variations c, d, & e:

c .. .. .. ...œ Jœ .œ Jœ Œ œ œ Œ Œ œ œ Œ .œ Jœ .œ Jœ

.. .. .. ...œ Jœ .œ Jœ Œ œ Jœ .œ Œ œ Jœ .œ .œ Jœ .œ Jœ

.. .. .. ...œ Jœ .œ Jœ ‰ .œ œ Œ ‰ .œ œ Œ .œ Jœ .œ Jœ

The clave is a structural building block of many Latin styles of music, and while not structurally as signif-icant, does occur frequently in swing and jazz styles. Charlie Parker used the 3-2 variation b several timeson Moose the Mooch. Ex. 2.76 shows the opening two measures establishing the clave. Ex. 2.77 showsmm.15-16, the two measures preceding the bridge, and ex. 2.78 show the last two measures of the piece.



2.76 3-2 Clave

& bb c.œ .œ .œ

œ ‰ Jœ ‰ Jœ œ.œ ˙

‰ Jœ3

œ œ œ œ œ œ# œ

2.77 3-2 Clave

& bb c.œ .œ .œ

œ ‰ jœ ‰ jœ œ.œ ˙

‰ jœ ‰ Jœ œ œ œ# œn

2.78 3-2 Clave

& bb c.œ .œ .œ

œ ‰ Jœb3

œ œ œ œ œ.œ œ Œ

‰ Jœ3

œ œ œ œ œ Œ

The 2-3 clave with the same variation b can be heard in the next two quite different examples. Ex. 2.79 isthe pre-Jay Leno theme for the Tonight Show, Here’s Johnny, written by Paul Anka and Johnny Carson.The second is the bass ostinato from Herbie Hancock’s Chameleon. Chameleon may not look like thesame rhythm as it is written with sixteenths and eighths rather than eighths and quarters.

2.79 TV theme:

& c‰ .œ œ Œ‰ .œ œb œb

.œ jœ œ œ.œ jœ œ Œ

2.80 Classic Funk Bass line:

? c .. ...jœ>

œb.œn. .œb . œb . ‰ Jœb

.≈ .jœ>

œb . œn . .œb . œb . ‰ Jœb.≈ .jœ>

œb.œn.



ODD METERS

Odd meters have occasionally become fashionable, but the majority of the music played when jazz mu-sicians get together is still in

44 and

34. Hank Levy, Herbie Hancock, John McLaughlin, and others have

come up with music in a variety of meters including 54,

74 and

78,

11 8 ,

1516, and even

21 8 . As odd as these me-

ters seem, they are all created by different combinations of twos and threes in a measure. One of themore famous odd time signature jazz compositions is Paul Desmond’s Take Five, played by the DaveBrubeck Quartet. The

54 measure is much like a jazz waltz with an extra two beat answer. If you sing “who

parked the car?” for a jazz waltz, add the answer “I did” to hear a 54 groove like Take Five.

2.81 Ostinato

&

?

bb b b b b

b b b b b b

45

45

..

..

..

..

‰ jœœœœ Œ œœœœ Œ

œœœ

œ ‰ Jœ œ œ œEbm7 Bbm7

‰ jœœœœ Œ œœœœ Œ

œœœ

œ ‰ Jœ œ œ œEbm7 Bbm7

MIXED METERS

Some jazz compositions are created using a variety of meters within phrases, and others where the me-ters may shift at different structural points in the form. Few of these compositions work their way into themainstream of jazz literature and are rarely called casually at jam sessions. This is more a reflection oftheir complexity and intricacy rather than any lack of musical merit. The following is an example of amixed meter piece. The piece floats on an ostinato moving from

34 to

44 to

24. The ostinato could have

been written in 94 but the mixed meter notation assists visualizing the metric subdivision. The piece shifts

from this ostinato to other meters including: 34 and

44,

38 and

68.

2.82 Bert Ligon: River Journey

&?

43

43....

44

4442

42....

Œ ‰ ....œœœœ

œ œ œ œ œ....œœœœ

jœœœœ# ˙˙

œ œ œ œ ‰ Jœ ‰ Jœ˙˙œ# œ

What has endured more than the practice of improvising in mixed meters is the practice of playing in 34

and 44 which allows the soloist and the rhythm section the freedom to imply all combinations of mixed

meters over the top. Syncopation is not confined to a predetermined grouping or mixed meter.



RHYTHMIC READING & DICTATION EXERCISES

Most of the rhythms discussed in this chapter probably sound familiar. They occur naturally in the im-provisation of most students. The beginning student, however, will not be in control of the developmentof these rhythms or possibly even recognize their possibilities upon hearing them. I have heard severalyoung rhythm sections experiment with polyrhythms intuitively and fail. Possibly a drummer will suggestthe dotted quarter pulse over the quarter note, another may go with him and before they know it, thehave lost the fundamental pulse and cannot get back. They should continue to experiment, but some-times a little understanding, knowledge and practice can greatly help the intuition. Many beginning stu-dents have trouble notating and reading the notation of these complicated rhythms. Practicing singing,tapping and correctly writing these rhythms will help insure success when confronted with complicatedrhythms appearing on the page or in improvisations. Practicing and understanding the rhythms willhelp with visual and aural recognition, and help the musician reach the true meaning of the perfor-mance of the music.

The following exercises look at a simple polyrhythms and their variations. They should be practiced inseveral ways:

• Read them in time with a metronome either tapping or singing “do” or “dot” withthe figures.

• Tap the lines with one hand and tap the negative space with another

• Tap your hands alternating RLRL and use accents to play the rhythm exercises

• Compose one-part rhythm pieces using excerpts from the rhythm exercises andhave class perform

• Compose two-part rhythm pieces using excerpts from the rhythm exercises andhave class perform

• Sing or tap the rhythms and have individuals improvise in the two measure rests

• Use the rhythm exercises for class dictation

• For understanding and recognizing sixteenth note rhythms, transpose selected or allexercises to sixteenths and practice as before

Exercise 2.1 begins with a dotted quarter pulse imposed over two measures of 44. The first and alternating

dotted quarter notes are replaced with a quarter and eighth note creating a (2 + 1) + 3 rhythm in thesecond line. The first and alternating dotted quarter notes are replaced with an eighth and a quartercreating a (1 + 2) + 3 rhythm in the third line. The first and alternating dotted quarter notes are re-placed with three eighth notes creating a (1 + 1 + 1) + 3 rhythm in the fourth line.



Exercise 2.1

÷ c .œ Jœ œ œ Jœ .œ .œ Jœ œ œ œ œ œ Jœ .œ œ œ œ

÷ œ œ ‰ Jœ œ œ œ ‰ .œ œ œ ‰ Jœ œ œ œ œ œ œ œ Jœ .œ œ œ œ œ

Exercise 2.2: Exercise 2.1 displaced by one eighth note.

÷ ‰ .œ .œ Jœ œ œ Jœ .œ œ Œ Ó ‰ Jœ ‰ Jœ .œ Jœ ‰ Jœ œ œ œ ‰ Jœ œ Œ Ó

÷ ‰ Jœ œ .œ Jœ œ œ œ œ œ œ Œ Ó ‰ Jœ œ œ œ ‰ Jœ Jœ .œ ‰ Jœ œ œ

Exercise 2.3: Exercise 2.1 displaced by two eighth notes.

÷ c Œ œ Jœ .œ .œ Jœ œ œ œ Œ Ó Œ œ Jœ .œ œ œ œ œ œ œ Œ Ó

÷ Œ œ œ ‰ .œ œ œ ‰ Jœ œ œ œ ∑ Œ œ œ Jœ .œ œ œ œ œ œ œ œ

Exercise 2.4: Exercise 2.1 displaced by a half note.

÷ Ó .œ Jœ œ œ Jœ .œ œ Œ Ó Ó œ œ œ œ œ Jœ .œ œ Œ Ó

÷ Ó œ œ ‰ Jœ œ œ œ ‰ .œ œ Œ Ó Ó œ œ œ œ œ œ œ Jœ .œ œ Œ Ó



Exercise 2.1 was based on replacing the first and every other dotted quarter by another combinationequal to three. Exercise 2.5 replaces the second dotted quarter value and every other one with anothercombination. The first line begins 3 + (2 + 1), the second 3 + (1 + 2), and the third, 3 + (1 + 1+ 1).

Exercise 2.5

c .œ Jœ ‰ Jœ œ ‰ Jœ ‰ Jœ .œ Jœ ∑ ∑

.œ Jœ œ œ ‰ Jœ œ .œ Jœ ∑ ∑

.œ Jœ œ œ œ ‰ Jœ œ œ .œ Jœ ∑ ∑

Exercise 2.6: Exercise 2.5 displaced by one eighth note.

c ‰ .œ œ œ œ œ œ Jœ .œ œ Œ Ó ∑

‰ .œ œ œ ‰ Jœ œ œ œ ‰ .œ œ Œ Ó ∑

‰ .œ œ œ œ œ œ œ œ Jœ .œ œ Œ Ó ∑



Exercise 2.7: Exercise 2.5 displaced by two eighth notes.

c Œ œ ‰ Jœ ‰ Jœ .œ Jœ ‰ Jœ œ œ Œ Ó ∑

Œ œ œ œ œ .œ Jœ œ œ œ ∑ ∑

Exercise 2.8 is based on exercise 2.1. In this exercise every dotted quarter note is replaced by a combi-nation of 2 + 1. The second line is displaced by an eighth note and the third by a quarter note.

Exercise 2.8

c œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ∑ ∑‰ Jœ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ Jœ ∑ ∑Œ œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ Œ Ó ∑

Exercise 2.9 is also based on exercise 2.1. In this exercise every dotted quarter note is replaced by acombination of 1 + 2. The second line is displaced by an eighth note and the third by a quarter note.

Exercise 2.9

c œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ Jœ ∑ ∑‰ Jœ œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ Œ Ó ∑Œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ œ œ ∑ ∑

The possible combinations of 3 for a dotted quarter note (2 +1, 1 + 2, and 1 + 1 + 1), the possible dis-placements on any beat or upbeat in the measure, and combinations with quarter note values create anearly infinite number of rhythms. Familiarization with these exercises will help create rhythmic confi-dence and inspire more experimentation.



These rhythms in exercise 2.10 are found in many funk, pop, Latin and jazz tunes. The eighth note pairsare placed every three beats. The three beat rhythm shown above the eighth note line is the augmenta-tion of the dotted quarter notes in exercise 2.1.

Exercise 2.10

c œ œ Œ Œ œ œ.˙ œ Ó œ œ Œ˙ ˙ Œ œ œ Óœ .˙ œ œ Œ Œ œ œ.˙ œ

Œ œ œ Ó.˙ œ œ Œ Œ œ œ.˙ œ ∑ ∑

Much of the music written in pop, funk and Latin styles is written with sixteenth note subdivision. Wellrounded musicians need to be adept at reading and writing these rhythms. The dotted quarter superim-position becomes a dotted sixteenth in the following exercise. Exercise 2.11 is the rhythmic diminutionof exercise 2.1. It is recommended that all of the previous rhythmic reading and dictation exercises berewritten in their diminished form to facilitate the reading of sixteenth note subdivisions.

Exercise 2.11

c .œ œ œ œ œ .œ .œ œ ∑ œ œ œ œ œ œ .œ œ œ œ ∑œ œ œ œ œ œ ≈ .Jœ œ œ œ ∑ œ œ œ œ œ œ œ œ .œ œ œ œ œ ∑



The first set of exercises was based on the superimposition of dotted quarter notes over 44 time. The

clave beat is another rhythm pattern to which combinations of 2 + 1, 1 + 2, and 1 + 1 + 1 can be substi-tuted for the dotted quarter notes. Some variations are shown below.

Exercise 2.12: Variations of the 3-2 & 2-3 clave.

÷ c œ œ œ œ œ Œ œ Jœ .œ œ œ ‰ Jœ œ œ œ Œ œ œ ‰ .œ

÷ œ œ œ œ œ œ œ Œ œ œ Jœ .œ œ œ œ ‰ Jœ œ Œ œ œ œ ‰ Jœ

÷ Œ œ Jœ .œ œ œ œ œ œ Œ œ œ ‰ .œ œ œ ‰ Jœ œ œ œ

÷ Œ œ œ Jœ .œ œ œ œ œ œ œ œ Œ œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ

OTHER SUGGESTED EXERCISES

• Transcribe rhythms from jazz performances, Latin and pop music. Analyze thecombinations of twos and threes. Experiment with displacement by eighth notesand quarter notes.

• Take simple rhythms from speech patterns and notate. Experiment with displace-ment by eighth notes and quarter notes.

• Take simple rhythms created with quarter and eighth notes and rewrite using eighthand sixteenth notes. Practice reading and recognizing the same rhythms written inany form.

• Take the previous exercises and rewrite using sixteenths and eighth notes.

• Take the previous exercises and notate and practice reading the negative spacerhythms.



READING EXERCISES

Here are several exercises using a mixture of rhythms. Try singing or tapping these rhythms while tap-ping a steady beat with your other hand or foot. Be sure to practice with the metronome and practice avariety of tempos.

Reading Exercise 2.1

c Œ œ œ œ Œ .œ Jœ œ œ œ ‰ Jœ ˙ ‰ .œ œ œ

œ œ œ œ ˙ ‰ Jœ ‰ Jœ œ œ œ .˙ Œ ‰ Jœ œ œ œ ‰ Jœ

.˙ Œ Œ œ œ œ œ ˙ œ œ ‰ Jœ .˙ Œ

‰ Jœ Œ .œ Jœ œ œ œ œ œ œ w ∑


c Œ ˙ œ ˙ œ œ .œ Jœ œ œ œ Œ œ Œ œ ‰ Jœ ˙

‰ .œ œ œ œ œ œ ‰ Jœ œ ˙ .œ Jœ ∑

Œ ˙ œ œ œ œ œ ‰ Jœ ˙ œ œ ‰ Jœ .˙ Œ

Œ œ œ ‰ Jœ œ œ œ ‰ Jœ œ Œ Œ œ œ ‰ Jœ œ œ ‰ Jœ ˙




c Œ œ œ œ Œ œ œ œ Œ œ ˙ œ œ œ .˙ Œ

‰ Jœ Œ .œ Jœ Œ œ œ œ Œ .œ Jœ Œ œ .˙ Œ

.œ Jœ Ó Œ œ œ œ Œ .œ Jœ Ó ∑

‰ Jœ Œ œ Œ .œ Jœ Ó ‰ .œ œ œ .œ Jœ Ó


c ‰ Jœ œ œ œ ‰ Jœ .˙ Œ Œ œ œ ‰ Jœ œ .œ Jœ ˙

œ œ ‰ Jœ œ œ œ ˙ œ œ œ ˙ ‰ Jœ Œ .œ Jœ Ó

‰ .œ œ œ ‰ Jœ .˙ Œ Œ œ œ ‰ .œ œ œ ‰ Jœ ˙

œ œ Œ Œ œ œ Ó œ œ Œ Œ œ œ ‰ .œ .œ Jœ Ó




c ‰ .œ .œ Jœ Œ œ ‰ .œ .œ Jœ Ó Œ œ Jœ .œ

œ Œ ‰ .œ œ ‰ Jœ œ œ œ œ œ ˙ Ó ‰ .œ

œ Œ Œ œ ˙ œ Œ œ œ œ ˙ ‰ .œ œ œ

œ œ ‰ Jœ œ œ œ œ œ œ œ œ œ œ ∑ ∑


÷ c ‰ Jœ œ .œ .œ œ œ œ .œ œ œ ≈ .Jœ œ œ œ œ œ œ œ ≈ œ. œ œ œ œ ˙ ≈ œ œ œ œ. œ

÷ ˙ ‰ Jœ œ œ œ œ œ œ. œ ˙ ≈ .Jœ .œ œ œ œ œ œ œ œ ˙ Ó


÷ c Ó ‰ œ Jœ œ œ œ .œ œ œ œ œ œ .œ œ Œ ≈ .Jœ œ œ œ œ œ ≈ œ œ

÷ œ .œ œ Ó ‰ œ Jœ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ ≈ œ œ œ œ œ œ ‰ œ œ ≈ œ œ œ ≈ œ œ




÷ c ‰ Jœ œ œ ‰ œ œ œ ‰ Jœ œ œ œ œ ˙ ≈ .Jœ .œ œ ‰ Jœ œ .œ .œ œ ‰ Jœ ˙

÷ .œ œ Œ ‰ Jœ œ .œ .œ œ Œ Ó ≈ .Jœ œ .œ œ Œ ≈ .Jœ œ œ .œ œ Œ


÷ c ≈ œ œ œ œ œ ˙ ‰ œ œ ≈ œ œ .œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ .Jœ .œ œ œ

÷ ≈ .Jœ œ œ œ ˙ ‰ œ œ ≈ .Jœ œ œ œ œ œ œ ‰ ‰ œ œ Œ œ œ ‰ ‰ œ œ ≈ .Jœ .œ œ Œ


÷ c ≈ .Jœ .œ œ ‰ Jœ ≈ .Jœ .œ œ Œ ‰ Jœ œ .œ œ ≈ .Jœ œ ≈ œ œ œ œ œ œ œ Œ ≈ .Jœ

÷ œ ‰ Jœ œ œ œ œ œ œ ≈ .Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑

52 Chapter 3 Basic Tonal Materials


III. BASIC TONAL MATERIALS

TONALITY

What is and what creates tonality? How can C major and A minor share the same pitches and whatmakes one hear C as the tonic of C major and A as the tonic of A minor? Tonality is created when onepitch sounds more important and more stable than all the surrounding pitches. This pitch is calledtonic. It is the center of the musical organization and the other pitches often seem to progress towardsthis pitch. The tonic is not always the first pitch sounded in the musical setting, but is often the last. Itmay not be the pitch that occurs with the most frequency, but it will occur at significant rhythmic andstructural points, which not only establishes its importance, but also facilitates the establishment of me-ter.

A second pitch, a perfect fifth above or perfect fourth below the tonic pitch is often used to establish thetonic as the primary center. This pitch, called the dominant, may occur more often in the piece thanthe tonic, but often occurs in a rhythmic position which points to the tonic pitch. This dominant pitchis the second overtone or the third note of the harmonic series, and its relationship to acoustics may bewhy the dominant–tonic relationship is universal and not limited to the European major/minor system.The dominant is the third pitch of the harmonic series and the first pitch of the series that is not thefundamental pitch, and within the series, is bordered above and below by the fundamental pitch.

3.1 Harmonic series

&

?˙ ˙ ˙ œb ˙ ˙ ˙ œ# ˙ œ œb ˙n ˙

4 5 6 7 8 9 10 11 12 13 14 15 16

˙ ˙ ˙1 2 3

œ = approximate pitch

The tonic is established in the example below, by the repeated B rising and falling to the E. The rhyth-mic placement suggests a three beat meter. The B, the dominant pitch, occurs more often than the E,but the E has a sense of finality and stability. The meter is not determined by what is written on the staff,but rather, how we experience the placement of the important notes determines how it is written on thestaff. Here the two important notes occur every three beats, and the music—the aural experience, notjust the notation, suggests the meter.

3.2 Tonic established using Dominant pitch

& œ3œ œ œ œ œ œ œ .˙ œ œ 3œ œ œ œ œ 3œ œ œ .˙

Chapter 3 Basic Tonal Materials 53


Ex. 3.2 established E as tonic, but is it E major or E minor? Most people tend to identify it as being in Emajor even though no pitch that would determine either major or minor has been sounded. The reasonmay be related to the overtone series in that the fifth note of the series is a major third and is oftenheard even when absent. This example needs a third pitch to definitively establish the modality as ei-ther major or minor. The pitch that determines the modality is the mediant, the middle note betweendominant and tonic.

Tonality, by definition, indicates a hierarchy of pitches, where one pitch is more stable than all the oth-ers. This means that not all pitches have the same importance in a tonal musical setting. What are thethree most important pitches? Students with some training in European harmonic theory are quick toinaccurately respond I, IV, and V, referring to the triads on the first, fourth and fifth degrees of a majorscale. Some wrongly list a leading tone pitch, but a leading tone pitch is not present in all modes. Tonalmusic existed long before any system of harmonic progression was developed. The three most impor-tant pitches are the tonic (the home pitch), the dominant (a perfect fifth above the tonic), and the me-diant (which determines modality, either major or minor). A piece may be tonal and not necessarily inthe major/minor system. There are pieces that may be in other major and minor modes or highlychromatic implying major or minor, but still imply one pitch as the center of the musical structure.

Tonality is established in the selection below by the initial dominant to tonic statement. E sounds likethe home pitch because it is preceded by its dominant and it is held for a longer duration. The E occurstwo more times in the first full measure and begins the second measure. B, the dominant pitch, occursthree times in the second measure and begins the third. The mediant is heard for the first time in thethird measure establishing the modality as minor and not major. The line ends tonic-dominant-tonic,reinforcing E as the primary pitch. The meter (not shown) is clearly audible due to the placement of thetonic and dominant and their relative durations. A glance at this melody with no sharps or flats mightsuggest C major or its relative minor A. The melody itself suggests E as the tonal center. No chordsneeded to hear E as the tonic. This melody is in the key of E phrygian, one of the minor modes that willbe discussed in chapter 12.

3.3 E as Tonic of a phrygian melody

& RœD

˙ œ œ œ œ œ œT

œ œ œ œ œ œ œ œ œT D

œ œ œ œ œ œ œ œ œ œD M T T D

.˙T

C would not be heard as tonic in the first phrase of Amazing Grace, shown below, even though it beginsand ends with C. The first C sounds like a pickup note to the F. C to F is the dominant to tonic relation-ship and makes the F sound like the home pitch. The establishment of F as tonic is reinforced by hold-ing the F for two counts. The A in the second measure indicates this melody is in a major mode. Thefour half notes in the example are the tonic, dominant and mediant. The G and D occur on weaker beatsand for shorter durations. This melody is in an F major mode, not because of key signatures or har-monic progressions, but because of placement of the three important pitches.

3.4 Amazing Grace: first phrase

& œD

˙ œ œT M

˙ œM

˙ œT D

The three important pitches were placed in rhythmically significant places in these two examples fromCharlie Parker. In both, the underlying structure implied T-M-D-M-T, 1-3-5-3-1, or Do-Mi-So-Mi-Do. Inthe first example, a G major tonality was clearly indicated using strictly melodic principles. G was estab-lished without depending on a harmonic progression, chordal instrument, or a written key signature. Thefirst one used only diatonic notes the second included some chromatic passing tones. Below eachmelody are letters indicating the tonic, dominant and mediant pitches.



3.5 Diatonic notes

&

&

jœD

jœ

œ œ œ œ œ œ œ œT M D M D

œ œ œ œ

œ œM T

w3.6 Diatonic and Chromatic tones

&

& c

œ œ œ# œ œb œnT M

˙ ˙

œ œ 3œb œ œ œ œ œ œD M M D

˙ ˙

3

œ œ œ œ œb œ ˙T T

w

Here are two examples from Bach and one from Mozart to further illustrate how the rhythmic place-ment of the tonic, dominant and mediant pitches aid the establishment of tonality and meter.

3.7 J. S. Bach: Sonata VI, Preludio, for solo violin

& ### # 43 ‰œT œ œT œD œM œD œT œ œ œ œT œD œ

M œD

œT

œD

œ œ œM

œ œ œ œM

œ œ œD

œT

œT

œ œ œD œT œ œ œD

œ œ œ rœT

3.8 J. S. Bach: Suite No. 1 in G major, for solo cello

? # c œT œ œ

M œ œ œ œ œD œT œ œ

M œ œ œ œ œD rœ3.9 Mozart: Eine Kleine Nachtmusik, K.525, First Movement

& # c œ ‰ jœ œ ‰ jœ œ œ œ œ œ Œ



PITCH HIERARCHY

There are twelve pitches available within the European tuning system. Tonality, by definition, indicatesthat all twelve pitches are not of equal importance. Here is a hierarchical list of the twelve pitches.

Primary Level

1. TONIC: the home pitch. In tonal music, all other pitches ultimately point back to tonic.

2. DOMINANT: This pitch a perfect fifth above the tonic is the primary pointer to the tonic.

3. MEDIANT: If it is a major third above the tonic determines a major mode; a minor third abovethe tonic determines minor.

Secondary Level

4. All other diatonic pitches. The four remaining pitches in a typical seven note scale. These wouldbe the second, fourth, sixth and seventh degrees. They are defined by their relationship to thethree pitches above.

SUPERTONIC: The second note of the seven tone scale is above the tonic. It points back downto the tonic and may occur in passing between the tonic and mediant.

SUBDOMINANT: The fourth note of a seven tone scale is a fifth below the tonic. It is not alwaysa perfect fifth below. It often occurs connecting the mediant and the dominant in ascending anddescending patterns.

The sixth and seventh are the connectors between the dominant and the tonic.

SUBMEDIANT: The sixth degree is the middle note between the tonic and the subdominant.

The seventh degree may be a half step or a whole step below the tonic.

SUBTONIC: Seventh scale tone, a whole step below the tonic.

LEADING TONE: Seventh scale tone, a half step below the tonic.

Tertiary Level

5. The five remaining chromatic tones. These tones point to the seven tones above. The remainingchromatic tones depend on the original diatonic mode. There are five, but with enharmonicspelling there appears to be more. For example: in the key of C major, the five remainingchromatic tones are easily visualized by imagining the five black keys on the piano. Careful useof enharmonics may suggest ten chromatic tones. The pitch between C and D may be a C# whenascending (C-C#-D) or a Db when descending (D-Db-C).

The most important reason to understand the pitch hierarchy is that it will aid in aural training andrecognition. Trying to hear and understand tonal melodies will be easier knowing that the pitches arearranged naturally in a classifiable order. Learn the pitches in order of their importance and in rela-tionship to tonic. The primary pitches will be the most prominent pitches in a line in both frequency ofoccurrence and rhythmic placement. The secondary and tertiary pitches point back to the primarypitches and will often occur on weaker beats and with lesser durations.



EAR TRAINING

Ear training can be accomplished with three tasks: singing, writing, and reading. Sing in order to learnthe pitches and their relationships; write melodies by listening to an outside source or memory, identify-ing and writing the pitches on paper; and read and reproduce written music. Writing the pitches downwithout the “hunting and pecking” at notes on your instrument requires that one really knows and rec-ognizes the pitches. Systematically singing of the pitches prepares one for melodic dictation. Writingsimple melodies will help make the associations between the notation and the written that will aid withaccurate reading in musical performance. These are the three areas that all musicians strive to master.Practice making the connections between all three skills. When looking at written music, imagine how itsounds and how it physically feels to play it; when hearing music imagine what it looks like on the pageand how it would physically feel; and when playing, listen intently and imagine what it looks like on thepage.

There is always some discussion as to what syllables to sing. Some advocate the use of solfége with amovable “DO” which for a major scale would be: Do Re Mi Fa So La Ti Do; and for a minor scale: La TiDo Re Mi Fa So La. This solfége system keeps the half steps between Mi and Fa and Ti and Do for allcircumstances.

Others prefer singing numbers. Advocates of using numbers make a good point that in all otherdiscussions of music theory we refer to numbers. Scale degrees and diatonic scale chords are number inrelationship to tonic which is labeled “one.” All intervals are described by numbers. The argument is, ifso much of theory discussion is based on numbers then it should be reinforced during ear training. Themajor drawback is that getting the syllables out can be cumbersome, especially with the two syllableword “seven.”

I advocate using something simple to sing and while singing imagine the numerical relationships. So in-stead of a movable “DO,” I advocate the use of a movable “Doo,” using “Doo” for all pitches, and forfaster passages “Doo-be doo-be doo,” of course. The important thing is to be able to hear the pitchescorrectly not whether you sing the proper syllable. If syllables or numbers are used to strengthen thecomprehension of pitches, then I support the process. If too much emphasis gets put on the learning ofsyllables and not the learning of pitch relations, then it is a waste of time. I once visited an ear trainingclass where a student was asked to sight sing a particular passage. The student actually sang the correctpitches, but stumbled trying to remember the solfége syllables. He was told by his teacher that he per-formed incorrectly and the next student was called on. The instructor lost the focus of the exercise bycorrecting the solfége syllables and not praising the accurately sung pitches. The solfége system is a toolto aid in the learning of the pitches.

BEGINNING SINGING EXERCISES:

Sound the pitches on an instrument or pitch pipe, then try to sing the exercises keeping the tonic pitchin memory and finding the others as they relate back to the tonic. Occasionally in the beginning thenotes should be checked until a reasonable amount of independent pitch retention is confirmed.

MAJOR KEYS

Tonal ear training begins by identifying the tonic pitch. Begin to establish the C (or any tone) as tonicby singing the tonic and the dominant, 1 & 5.

& c œ œ ˙ œ œ ˙ œ œ œ œ ˙



Sing the 3rd (major) along with 1 & 5. Sing scale passages from the tonic to the dominant and return.

& œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ ˙ œ œ œ ˙Be able to hear and sing the 5 & 3 above or below the tonic pitch.

& ˙ œ œ œ ˙ ˙ œ œ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ œ œ œ ˙

Find the supertonic (2) above the tonic: between the 1 & 3, and below 3.

& ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ ˙ ˙ œ ˙ œ ˙

Find the subdominant (4) above the 3: between the 3 & 5. Hear the 2 and 4 in the scale between 1 & 5.

& ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙Find the submediant (6) as it relates to the 5th.

& ˙ ˙ œ ˙ ˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ œ œ œ ˙Hear the 6 & 7 passing between the tonic and dominant.

& ˙ ˙ ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙

MINOR KEYS

Begin to establish the C (or any tone) as tonic by singing the tonic and the dominant, 1 & 5.

& c œ œ ˙ œ œ ˙ œ œ œ œ ˙



Sing the 3rd (minor) along with 1 & 5. Sing scale passages from the tonic to the dominant and return.

& œ œb œ œ ˙ œ œb œ œ œ œb ˙ ˙ œ œb œ ˙ œ œb œ ˙Be able to hear and sing the 5 & 3 above or below the tonic pitch.

& ˙ œ œb œ ˙ ˙ œ œb œ œ œb ˙ ˙ œb œ œ ˙ ˙ œ œ œb œ œb ˙

Find the supertonic (2) above the tonic: between the 1 & 3, and below 3.

& ˙ œ ˙ ˙ œ ˙b œ ˙ ˙b œ ˙b ˙b œ ˙ œ ˙b

Find the subdominant (4) above the 3: between the 3 & 5. Hear the 2 and 4 in the scale between 1 & 5.

& ˙b œ ˙b ˙b œ ˙ œ ˙b ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙Find the submediant (b6) above the 5.

& ˙ ˙ œb ˙ ˙ ˙ œb ˙ ˙ œ œb œ ˙ œb ˙ œ œb œ ˙Hear the 6 & 7 passing between the tonic and dominant. What are your initial instincts? Do you hear adifferent version when ascending and descending? Sing the way you hear it first and learn other patternsbased on what you normally hear.

& ˙ ˙ ˙ œn œn ˙ ˙ œb œb ˙ œn œn ˙



BEGINNING WRITING EXERCISES:

As a complete musician you will be expected to be competent in three areas: to physical be able to playyour instrument; to be able to recognize the written symbols and understand the musical meaning be-hind them; and to hear music and be able to write the appropriate symbols or be able to physicallyplay your instrument recreating the music you hear. All of these skills interact. When you are physicallyplaying you should be connected to the aural recognition of what you play and be able to visually rec-ognize or notate what you play. When you see music in the written form, you should be able to imaginethe music for which the symbols stand. When listening to music you should be able to imagine what itfeels like physically to play it and have the skills to accurately notate what you hear. These are lifelonggoals of musicians. These skills can be developed separately, but at the same time the connections be-tween these skills should be developed. Integrate these skills in your practice schedule.

These beginning writing exercises will address the fundamental skills of recognizing the primary pitches(tonic, dominant and mediant), the basic meter, and rhythmic vocabulary. Develop a routine of writingmelodies from memory or taking dictation from someone or a recording. What is difficult in the begin-ning will become easier with honest, diligent practice.

Use your ears, but do not forget to use your intellect. Some think that hearing and thinking about themusic are separate activities. Some notes may come to you with ease and with little thought. Anothernote or set of notes may cause you trouble. Stop and think about the possibilities. Use some deductivereasoning. Process of elimination will reveal some pitches that are at first difficult to aurally identify.

For example:

• If a note sounds stable, chances are it belongs to the primary level of pitches. That narrowsthe choice to one of three notes.

• If the note sounds a little less stable or transient, is probably is from the secondary level ofpitches. The choices are narrowed to four pitches. This pitch probably moves to a pitchfrom the primary level, so listen ahead and then work back. If the note resolves down a stepto the dominant, then the note in question must have been the sixth degree.

The deductive reasoning will lead to familiarity. With practice, longer lines of transient and stablepitches will be easier to hear and notate.

Here is a list of tunes for transcription practice. The list is comprised of folk, childhood, holiday, andpatriotic songs. The list is from my middle America background. You may want to amplify the list withtunes from your own region, nation, holidays and childhood if they differ greatly from this list. Consultthe National Endowment for the Arts “Songs of the Century” list for additional melodies. These aretunes memorized from childhood so musical dictation from an outside source is not necessary. Workcan be done anywhere without electrical devices or computers. You will need a pencil, paper, and untilyour skills get better, an eraser. This is an activity you could do with colleagues or alone. Your work canbe easily checked after writing by playing them on your instruments.

Since the most important pitch in tonal music is the tonic, aurally identify the tonic first. Without thetonic, the other notes are meaningless. Not all tunes begin on tonic. These beginning level writing tunesusually begin on one of the three primary pitches and usually gravitate towards the tonic very soon. Singthe melody until you can identify the tonic pitch. Return to the beginning of the piece and determine ifthe first pitch is the tonic or another pitch. You may have to sing with numbers up or down the scale un-til you identify the first pitch. Does the first note begin on the downbeat or does it begin with a pickup?Is the meter in two, three or four? Finish the melody listening to the intervals related to the tonic pitchin the piece.

These exercises may seem simple, but you may be surprised at how much practice is needed to writethese tunes quickly and accurately. It requires the command of all fundamental music skills, the mostimportant being recognition of tonic and basic meter. If any skill area is weak, these exercises providesome necessary drilling and training.



Practice writing and sight singing every day. Make yourself work quickly and accurately when writingmelodies. Find weaknesses and work out the problems. If these tunes are too easy, there is plenty ofrecorded music to transcribe for ear training. These tunes are a much easier place to start than a fiveminute blistering improvisation by John Coltrane, Clifford Brown or Michael Brecker.

BEGINNING TUNES for EAR TRAINING:

1 . Folk Songs (any)2 . Holiday Music (any)3 . Patriotic Songs (any)4 . Religious Music (any)5 . TV/Movie theme songs (any)6 . A loue t t e7 . Alphabet Song8. Amazing Grace9 . America (My Country ‘tis of

Thee...)10 . America the Beautiful11 . Angels We Have Heard on

High12 . Are You Sleeping?13 . Auld Lang Syne14 . Aura Lee15 . Away in A Manger16 . Baa! Baa! Black Sheep17 . Battle Hymn of The Republic18 . Bicycle Built For Two19 . Billy Boy20 . Blue Bells of Scotland21 . Brahm’s Lullaby22 . Bring a Torch23 . Caissons24 . Camptown Races25 . Can Can26 . Carry Me Back To Old Virginny27 . Christmas Song28 . Circus Song29 . Clement ine30 . Columbia, The Gem of the

Ocean31 . Come Ye Thankful People32 . Crusaders Hymn33 . Daisy34 . Danny Boy35 . Dark Eyes36 . Deck the Halls37 . Deep in the Heart of Texas38 . Dixie39 . Do You Know the Muffin Man?40 . Doe, A Deer (Sound of Music)41 . Don’t Sit Under the Apple

Tree42 . Down by Mill Stream43 . Down in The Valley44 . Doxology45 . Dradle Song (Hanukah)46 . Edelweiss47 . Eeensy Weensy Spider48 . Eyes of Texas are Upon You49 . Fairest Lord Jesus50 . Faith of Our Fathers51 . Farmer in the Dell52 . First Noel53 . First Noel, The54 . For He’s a Jolly Good Fellow55 . Frere Jacques (Are You

Sleeping, Brother John?)56 . Frog Went-a-Courtin’57 . Funiculi, Funicula58 . Go Down Moses59 . Go Tell Aunt Rhodie60 . Go Tell it on the Mountain

61 . God Rest Ye Merry Gentlemen62 . Good King Wenceslas63 . Good Night Ladies64 . Greensleeves65 . Happy Birthday66 . Hark The Sound67 . Hark! The Herald Angels Sing!68 . Havanagila69 . Have Yourself a Merry Little

Christmas70 . Holly & Ivy71 . Home on the Range72 . Hush Little Baby73 . I Ain’t Gonna Study War No

More74 . I Dream of Jeanie with the

Light Brown Hair75 . I Love Lucy Theme Song76 . I Saw Three Ships77 . I’ll be Home for Christmas78 . I’m Popeye Sailor Man79 . I’ve Been Working On The

Railroad80 . In Southern Port of France81 . It Came Upon a Midnight Clear82 . Jesus Loves Me83 . Jimmie Crack Corn84 . Jingle Bells85 . Jolly Old St. Nicholas86 . Joshua Fit the Battle of

Jericho87 . Joy to the World88 . Joyful, Joyful89 . Kumbaya90 . Let It Snow91 . Let Me Call You Sweetheart92 . Lightly Row93 . Little Pierrot94 . Lo How a Rose95 . Loch Lomond96 . London Bridge is Falling

Down97 . Long Long Ago98 . Man on the Flying Trapeze,

The99 . Marine’s Hymn100. Mary Had a Little Lamb101. Merrily We Roll Along102. Mulberry Bush103. My Bonnie104. My Old Kentucky Home105. Nobody Knows the Trouble

I’ve Seen106. O Christmas Tree107. O Come, All Ye Faithful108. O Come, O Come Emmanuel109. O Dear, What Can The Matter

B e ?110. O Hanukah111. O Holy Night112. O Little Town of Bethlehem113. O My Darlin’ Clementine114. O What Beautiful Morning115. Ode To Joy (Theme From

Beethoven’s Ninth)

116. Oh, Susanna117. Oh, Where, Oh Where Has My

Little Dog Gone?118. Old MacDonald Had a Farm119. Old Rugged Cross120. On Top of Old Smokey121. Onward Christian Soldiers122. Polly Wolly Doodle123. Pop! Goes the Weasel!124. Puff The Magic Dragon125. Rain Barrel126. Rakes of Mallow127. Red River Valley128. Rock My Soul (In The Bosom

of Abraham)129. Rock-A-Bye Baby130. Row, Row, Row, Your Boat131. Rudolf The Red-Nosed

Reindeer132. Sail Navy133. Santa Claus is Coming to Town134. Scarborough Fair135. Scotland’s Burning136. Sentimental Journey137. Shall We Gather At The River138. She’ll Be Comin’ Round The

Mounta in139. Shoo Fly140. Shortnin’ Bread141. Silent Night142. Skip To My Lou143. Sleigh Ride144. Star Spangled Banner145. Stars And Stripes Forever146. Streets of Laredo147. Swanee River148. Sweet Betsy From Pike.149. Swing Low, Sweet Chariot150. Take Me Out to the Ballgame151. This Old Man152. Three Blind Mice153. Twinkle, Twinkle Little Star154. Voluntary155. Wayfaring Stranger156. We Three Kings157. We Wish You a Merry

Christmas158. What a Friend We Have in

Jesus159. What Child Is This?160. When Irish Eyes are Smiling161. When Johnny Comes Marching

Home162. When The Saints Go Marching

I n163. Where Has My Little Dog

Gone?164. While Strolling Through The

Park One Day165. White Christmas166. Winter Wonderland167. Yankee Doodle168. You Are My Sunshine169. Zip-A-Di-Doo-Dah



Every semester I begin the first jazz theory class asking students to write a simple melody such as the onethat is sung on birthdays or “O Tannenbaum.” Looks around the class suggest they wonder how thisconnects to the study of jazz. A surprising number of music majors have trouble with these basic skills. Ifthe student is unable to hear and notate simple melodies they have sung all their lives, it suggests theywill have trouble hearing more complicated jazz lines from the literature and from their own imagina-tions. If it takes five minutes to pick out one of these simple tunes, how long will it take to imagine fourchorus of blues in Bb? How well equipped are they to transcribe from memory if the quarter note wasaround 240+?

Here is an example of how the exercise might work if we picked “O Tannenbaum” as the first tune totranscribe and notate in the key of F major. Sing the phrase through and identify the pitch that soundslike the stable home pitch. The last pitch in this phrase feels like the tonic. Sing the opening again. Is itthe same pitch? No, it sounds lower. The first guess is that the pickup note should be either the domi-nant or the mediant because they are the most common remaining primary pitches. If you have troubleimmediately identifying the opening pitch as the dominant, then try starting at the tonic and sing downuntil you find the correct pitch: 1-7-6-5-6-7-1, 1-5-1.

Does the melody begin on the beat? How many beats in each measure? It begins with a quarter notepickup and the meter is three beats per measure. Learn to hear the rest of the melody as intervals re-lated to the tonic. Do not concentrate on hearing the intervals between adjacent pitches. The A in m.2should be heard as a major 3rd above the tonic, not a second above the preceding note. The last fournotes should be heard as 4-7-2-1, all notes related to the tonic; not as the intervals diminished fifth, mi-nor third, major second.

3.10 Correct

& b 43 œ .œ œ œ œ .œ œ .œ jœ œ œ œ œ œ œ

Here are some common mistakes when getting started.

This version sounds correct if played, but the rhythm is incorrectly notated. Do not assume that allmelodies start on the downbeat and have four beats per measure.

3.11 Incorrect

& b c œ .œ œ œ œ .œ œ œ œ œ œ œ œ œ œ œ

This melody also sounds correct, but it is notated in the key of Bb major, regardless of what the keysignature suggests. Do not assume that all tunes begin on tonic.

3.12 Incorrect

& b 43 œ .œ œ œ œ .œ œ .œ Jœ œ œ œb œ œ œ



There are two ways to analyze melodic intervals.

Intervals related to tonic.Intervals related to adjacent pitches.

There are those who advocate learning intervals independently first, then trying to hear melodies listen-ing to the intervals related to adjacent pitches. This is not the way tonal music works and trying to learnto hear this way will only cause frustration and waste time.

Tonal music is based on the premise that all pitches relate to tonic. It reasons that we should learn tohear melodies based on the same principle. Hearing a melody as intervals related to adjacent pitchescalls for ignoring the tonic relationship, dividing the melody into unrelated pairs of pitches. This is notthe way one usually experiences a melody. It is unmusical, and anything unmusical should not bepracticed. Composers expect a listener to remember a tonic center and play off of those expectations totell their story or paint their picture. They use the stability of the primary pitches and the instability ofthe remaining pitches, and play off those expectations. As you will learn with many of these simplemelodies, the tonic pitch status is established early before the melody moves away only to return at theend of the piece. In large works, such as sonata allegro forms, composers expected the audiences toremember the tonic key area, recognize its return after remote modulations, and recognize the secondtheme returning to the tonic key in the recapitulation.

Some educators have put together lists of tunes to expedite the learning of intervals. These lists mayhelp learn intervals by themselves but will not help with learning intervals in musical contexts. Somecommon tunes that are suggested to learn the perfect fourth interval are: “Here Comes the Bride” and“O Tannenbaum.” Within the major scale there are six different perfect fourth intervals. Which of thesesix perfect fourth intervals begin those tunes? Both of the tunes begin with the perfect fourth interval be-tween the dominant and tonic. How then are the other perfect fourth intervals learned? They arelearned by hearing them as intervals related to the tonic.

Perfect Fourth Intervals in C Major Scale:

&P4

˙ ˙P4

˙ ˙P4

˙ ˙ P4

˙ ˙ P4˙ ˙ P4˙ ˙

Everyone seems to remember the major sixth interval with “NBC,” “My Bonnie,” or “Take the ‘A’Train.” There are four major sixth intervals within the major scale. Which ones correspond to thesetunes? These melodies use the major sixth interval from the dominant to the mediant, 5 up to 3. Thosetunes do not help anyone to hear the other major sixth intervals found in the major scale.

Major Sixth Intervals in C Major Scale:

&M6

˙ ˙ M6

˙ ˙ M6

˙ ˙ M6

˙ ˙

In another visit to an ear training class, I witnessed a teacher who played a C and asked a student to singa major sixth interval. The teacher wanted the student to sing C then a major sixth above, A. The studentsang a G and then an E. Clearly the student heard the C as tonic, remembered tunes for recalling a ma-jor sixth, and promptly and correctly sang the dominant and the mediant in the key of C. The teachertold him he was wrong with no explanation, and went on to the next student. The student learned noth-ing. He had actually sung the correct interval according to the way he was taught and should have beenrewarded.



Examine the intervals in the familiar melody below. The numbers below each note represent the inter-vallic relationship to the tonic note C. Great confusion can arise from trying to imagine the intervals be-tween adjacent pitches independent of the tonic key.

The melody begins with a major sixth interval (a.) from 5 to 1, and since this is one of the tunes used toillustrate that interval, it should be easy to hear.

Two tunes are commonly used to learn the descending minor third: “America the Beautiful,” and “TheStar Spangled Banner.” Both of these tunes begin with the minor third interval between 5 and 3. The de-scending minor third interval at (b.) is between the tonic and the submediant. In order to imagine ei-ther of the helper tunes, one would have to imagine F as the tonic in the middle of this passage in C ma-jor.

The perfect fifth is often remembered from “Twinkle, Twinkle, Little Star.” At (c.), one would have to hearG as tonic in order to sing “Twinkle, Twinkle, Little Star” to find the perfect fifth.

All of the tunes used to remember a perfect fourth use the perfect fourth between tonic and dominant(5-1). At (d.), the perfect fourth interval is from submediant to supertonic (6-2). One would have to hearD major as the tonic key to find the perfect fourth interval at (d.).

The B section begins with a perfect fourth followed by a minor third and another perfect fourth. Usingthe tunes as reference, one would have to imagine C major, F major and D major in order to find thecorrect intervals if one is thinking only intervals between adjacent pitches.

To hear intervals between adjacent pitches in this very short and simple piece requires thinking notonly in the actual key of C major, but also in F major. D major and in G major. It is no wonder that stu-dents have trouble with melodic dictation when trying to use this method. It defies the logic of tonalmusic, the very music they are trying to master by the exercise.

3.13

& 86 jœ5

.œ œ œ œ œ œ3 2 1 2 1 6

jœ œ œ jœ6 5 5

.œ œ œ œ œ œ3 2 1 1 7 1

.œ œ jœ2 5

& .œ œ œ œ œ œ3 2 1 2 1 6

jœ œ œ jœ6 5 5

œ œ œ œ œ œ6 2 1 7 6 7

.˙1

& .œ .œ5 1

.œ œ Jœ6 2 1

œ œ œ œ œ œ7 7 7 7 6 7

œ Jœ .œ1 2 3

& .œ .œ5 1

.œ œ Jœ6 2 1

œ œ œ œ œ œ7 7 7 7 6 7

.œ1

a.b. c.

d.

e.

f.

g.

There are endless examples proving how ineffective trying to hear melodies by relating intervals be-tween adjacent pitches. It may be fun to make up a mnemonic list of tunes to remember the individualintervals, but it would be more useful to remember how those intervals relate to the tonic.



Here is a simple folk song that could have been included on the list. The simple structure is shown onthe bottom line. It might be easier to hear just the downbeats and then fill in the other pitches that leadto the downbeats. Learn to hear the melody as intervals (as shown) related to the tonic pitch.

3.14 Basic framework and melody to Wildwood

&

&

c

c

Ó œ œM3 P4∑

˙ œ œP5 M6 T

w˙ œ œ

M3 P4 M3

w

˙ œ œM2 M3 M2

w

˙ œ œT M3 P4

w&

&

˙ œ œP5 M6 T

w˙ œ œ

M3 P4 M3

w

˙ œ œM2 M3 M2

w

˙ œ œT M3 P5

w&

&

˙ œ œM3 M3 M2

0

w˙ œ œT P5 P5w

˙ œ œM6 T M6

w

˙ œ œP5 T T

w

&

&˙ œ œ

M3 M3 M3

4

w

˙ œ œP5 P5 M3

w˙ œ œ

M2 M3 M2

wT

wAPPLICATION

It is important to learn to apply the principles of tonal melodies to improvisations and composing.Before attempting to address the intricacies of melodic writing involving harmonic implications, itwould be beneficial to gain some expertise and confidence with simple melodies based on the tonic,dominant and mediant pitches.

Have you seen an artist draw a portrait of someone? They do not begin with the intricate details of theeyelashes. A series of decisions are made before beginning. The first decision is how big the canvas willbe and how much space the face will cover on the canvas. They plan the space first so that later they donot wish for a larger canvas or find they have 80% blank space left. The most general shapes aresketched out lightly; an oval for the face and simple lines for neck and shoulders. From this basicframework, the artist begins to fine tune and pay closer attention to the details and unique features.

Inventing a melody can be a similar process to the portrait painting example. How long should themelody be? What are its high and low points and do they fit on the canvas (instrument)? What is thesimplest framework for the line? How can the simple framework be elaborated to create an interestingmelody.



“Amazing Grace” is a simply constructed melody that can be used as a model for this discussion. Themelody is shown on the top line in ex. 3.15 and a simple framework is shown on the bottom line. All ofthe important notes have long rhythmic values, occur on strong beats, and consist of the three primarypitches: tonic, dominant and mediant. This melody immediately makes F sound like tonic with thedominant note used as a pickup and the long rhythmic value given to F. The question of major or minoris settled by the third beat of the first measure. The line is sixteen measures long. At the halfway point,the resting note is the dominant, creating a sense that while relatively stable, there is more to come. Themelody winds down to the lower dominant before resolving back to the tonic. The general shape shownon the bottom line creates an interesting palindrome*. It rises from the tonic to the dominant andreturns in the same way in reverse:

1-3-1-5-1-3-5 then 5-3-1-5-1-3-1.

The notes that make up the framework for this tune, and so many others on the list above, are adjacentpitches (3, 4, 5 & 6) in the harmonic series.

*Palindrome: A word, phrase, verse, or sentence that reads the same backward or forward. For ex-ample: Ada, Civic, Deified, Mum, Otto, Radar, Rotator, Live Devil, Ergo ogre, Madam I’m Adam,Able was ere I saw Elba, Poor Dan is in a droop, A man a plan a canal: Panama, Lewd did I live &evil did I dwel, Lid off a Daffodil

3.15

&

&

b

b

43

43œ∑

˙ œ œ

.˙

˙ œ

.˙

˙ œ

.˙

˙ œ

.˙

˙ œ œ

.˙&

&

b

b

˙ œ œ

.˙

.˙

.˙

˙ œ œ

.˙

˙ œ œ

.˙

˙ œ

.˙

˙ œ

.˙&

&

b

b˙ œ

.˙

˙ œ œ

.˙

˙ œ

.˙

.˙

.˙

˙

˙

If the fundamental structure is strong then the results of melodically connecting the principal tones hasa strong chance for musical success. In addition to the three primary pitches, only two other pitches areused to create Amazing Grace. G (2, or supertonic) is used in passing between tonic and the mediant; D(6, or submediant) is used between the tonic and dominant. There is no leading tone or fourth degree ofthe scale. These five tones make up one of the pentatonic scales.



Try composing your own melody based on the “Amazing Grace” three note structure. Use the other fourdiatonic pitches from the F major scale. Compose lines that have rhythmic character. Be aware ofphrasing: do not write sixteen measures of notes with no points of repose. In the beginning, try compos-ing smooth motion throughout. With more experience, try some leaps and listen carefully to where theleaps want to resolve. You may find that the leaps should happen after the main notes and that the mainnotes should be approached by steps from above or below.

3.16

&

&

b

b

43

43 .˙ .˙ .˙ .˙ .˙ .˙ .˙ .˙

&

&

b

b .˙ .˙ .˙ .˙ .˙ .˙ .˙ .˙Compose a completely new version in a different meter:

3.17

&

&

b

b

c

c w w w w w w w w

&

&

b

b w w w w w w w w

A simple structure like this would work if transposed to minor. Compose versions in F minor in threeand in four beats per measure. When you compose in minor you have to decide the character of thefifth and sixth degrees of the scale. It is perfectly musical to use the Db and Eb from the key signature. Doyou hear other pitches? Do they change depending on the direction of the melodic lines? Often thefifth and sixth degrees of the minor scale are raised when ascending between the dominant and thetonic and lowered when descending.



3.18 Framework in F minor:

&

&

bb b b

b b b b

43

43 .˙ .˙ .˙ .˙ .˙ .˙ .˙ .˙

&

&

bb b b

b b b b .˙ .˙ .˙ .˙ .˙ .˙ .˙ .˙

3.19 Framework in F minor:

&

&

bb b b

b b b b

c

c w w w w w w w w

&

&

bb b b

b b b b w w w w w w w w



Compose several simple frameworks for melodies using only the three primary pitches as shown below.These pitches are the 3-6 and 8th pitches in the harmonic series in the first measure. The second set hasbeen transposed to the parallel minor. The primary melodic area should be within the perfect fifth be-tween tonic and dominant. The higher tonic and the lower dominant then can be used for climactic ordramatic reaches above and below the bracketed areas.

& b c b b b b˙ ˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙

Limit your lines to four or eight measures in length. Within the short phrase try to achieve a rise and fallwith a logical conclusion. Work on the framework until the simple shape is as pleasing as it can be with-out the aid of any elaborations. Many times when having difficulty composing melodies, composers trymore notes and more exciting elaborate rhythms in attempting to make the pieces more interesting.Often times the flaw is not with the embellishments, it is with a weak underlying structure that no amountof decoration can disguise. This is why the previous composing exercise was based on a proven frame-work from an existing melody.

Using the simple frameworks, compose several short melodies four to eight measures in length. In thebeginning, use only the diatonic pitches shown below. There are ten remaining chromatic pitches thatcan be added to the assignments as skills progress.

& b c b b b b˙ œ œ ˙ œ ˙ œ ˙œ œ ˙

˙ œ œ ˙ œ ˙ œ ˙œ œ ˙

Chapter 4 Triadic Generalization 69


IV. TRIADIC GENERALIZATION

This chapter will examine and analyze the use of the triad notes as linear melodic material that may beused over harmonic progressions in a way that generalizes the harmony rather than specifically address-ing each chord.

TERTIAN TRIAD

A triad is often defined as three pitches sounding simultaneously (a chord) with the adjacent intervalsbeing separated by the interval of a major or minor third. This definition works well for a great deal ofmusic created in the nineteenth century and before, but does not explain many kinds of triads availableto composers from the twentieth century and beyond. A triad would be better defined as three simulta-neously sounding pitches constructed using any variety of intervals. The most common would be thetriad whose adjacent intervals are separated by thirds called tertian triads. In chapter 13, there is a dis-cussion of quartal triads constructed using intervals of fourths.

There are four types of tertian triads: major, minor, augmented and diminished. The diminished triadhas a diminished fifth, the augmented triad an augmented fifth. Only the major and minor triads haveperfect fifths and are therefore the only two triads considered stable in the tonal system. The notes ofthese two triads are the primary pitches that create tonality and define modality: the tonic, dominantand mediant. In the last chapter these notes were used to create melodies that defined the tonal centerand modality (major or minor) without consideration for harmonic conditions. These same notes arethe primary melodic pitches in most traditional harmonic settings.

TRIADIC GENERALIZATION

Jazz improvisers use these fundamental pitches to create melodies over the harmonic progressions evenwhen many of the notes contradict the vertical alignment of the chords and melodies. These verticalcontradictions are rarely heard as intolerable dissonances because music is performed and heard in alinear form. Any vertical dissonances and contradictions tend to resolve through linear aspects of themelodic lines.

The essence of a harmonic progression creates the stability of a tonal center, moves away forming vary-ing degrees of tension, and then returns and re-establishes the primacy of the original tonic key area.This is not very different from the function of a simple tonal melody. In a tonal melody the tonic is es-tablished by placement on strong structural beats and relationship to the dominant pitch. The melodythen moves away to less stable tones and ultimately returns to the tonic. Many jazz improvisers use simi-lar concepts basing improvisations on the primary triadic tones and sometimes ignore the exact har-monic implications. Why does it work? The melodies and the harmonies function in similar manners bycreating, moving away and returning to the stable tonic area. Any vertical contradiction will just be apart of the instability that ultimately is, in a linear fashion, resolved by the end of the phrase.

There is a tendency with many jazz improvisation students and some jazz educators to overemphasizethe vertical relationships of each melodic pitch to the specific chords. Playing melodies that specifically

70 Chapter 4 Triadic Generalization


address each chord in a harmonic progression is certainly a great part of jazz improvisation. Harmonicspecificity or harmonic generalization should not be chosen at the exclusion of the other. Both ap-proaches are found throughout the history of jazz performance. Both approaches may be found in asingle improvisation, or within a single phrase.

Melodies can be harmonically specific or general. The primary pitches of the tertian triad are com-monly used for linear melodic material in a way that generalizes the harmony. The intricacies of har-monic progressions and the relationships to harmonically specific lines will be covered in detail in sub-sequent chapters.

ELABORATION DEVICES

Triadic generalization does not mean that only three notes are being used, just that these three notes aremore important than the other diatonic and chromatic pitches. The same hierarchy of pitches dis-cussed in the previous chapter is relevant to this discussion. If a triadic melody is to include more thanjust the three triadic tones, some discussion of elaborating the basic three pitches is necessary.

There are many terms for auxiliary tones. Tones which elaborate the basic triadic tones are often callednon-essential tones to distinguish them from the essential triadic tones. This is an unfortunate designa-tion as these tones are essential to the creation of an interesting melody. They are also known as auxil-iary tones or non-harmonic tones. In traditional music, some auxiliary tones may be labeled as ac-cented or unaccented depending on their rhythmic placement on or off the downbeat. In thepolyrhythmic settings common to jazz, this distinction is unnecessary and may prove confusing.Auxiliary tones embellish the basic triadic tones and will be revisited in following chapters as they applyto embellishing harmonically specific lines.

PASSING TONES

Passing tones (PT) are the diatonic and chromatic steps between the essential tones. In a chord, passingtones are the diatonic notes between the chord members: C major triad = C (d) E (f) G (a b) C. In ascale, the chromatic tones between the adjacent scale steps may be chromatic passing tones. A chro-matic passing tone can be placed between adjacent diatonic tones a whole step apart. Any diatonic tonecan have a chromatic leading tone. C# is the chromatic leading tone to D and the chromatic passingtone between Cn and D. Db is the chromatic passing tone between Dn and Cn. The difference between C#and Db is the direction implied by the accidental. Chromatically altered tones tend to continue in thedirection in which they have been altered. Flatted notes are lowered and therefore tend to resolvedownward, sharped notes are raised and tend to resolve upward.. The chromatic scale is written two dif-ferent ways to indicate the direction of the accidentals. Sharps are used when ascending and flats whendescending. Keep this principal in mind when writing music and the lines will be easier to read.

After identifying the primary triad pitches, a scale may be viewed as a triad with passing tones betweenthe primary pitches and a chromatic scale may be viewed as a diatonic scale with chromatic passingtones.

& ˙ œ ˙ œ ˙ œ œ ˙C

˙ œ# ˙ œ# ˙ ˙ œ# ˙ œ# ˙ œ# ˙ ˙ ˙ ˙ œb ˙ œb ˙ œb ˙ ˙ œb ˙ œb ˙



Passing tones between Tonic (1) and Mediant (3) of a C major triad:1 - 3 Diatonic PT Diatonic and Chromatic PTs

& ˙ ˙C

1 3œ œ ˙C

1 PT 3œ œ œ# œ ˙C

1 PT PT 3

Passing tones between Mediant (3) and Dominant (5) of a C major triad:3 - 5 Diatonic PT Diatonic and Chromatic PTs

& ˙ ˙C

3 5

œ œ ˙C

3 PT 5

œ œ œ# œ ˙C

3 PT PT 5

Passing tones between Dominant (5) and Tonic (1) of a C major triad:5 - 1 Diatonic PTs

& ˙ ˙C

5 1

œ œ œ ˙C

5 PT PT 1

Passing tones between Tonic (1) and Mediant (3) of a C Minor triad:1 - 3 Diatonic PT Diatonic and Chromatic PTs

& ˙ ˙bCm

1 3œ œ ˙b

Cm

1 PT 3œ œ# œ œb ˙

Cm

1 PT PT 3

Passing tones between Mediant (3) and Dominant (5) of a C Minor triad:3 - 5 Diatonic PT Diatonic and Chromatic PTs

& ˙b ˙Cm

3 5

œb œ ˙Cm

3 PT 5

œb œ œ# œ ˙Cm

3 PT PT 5

Passing tones between Dominant (5) and Tonic (1) of a C Minor triad:5 - 1 Diatonic PTs Diatonic PTs

& ˙ ˙Cm

5 1

œ œb œb ˙Cm

5 PT PT 1

œ œn œn ˙Cm

5 PT PT 1



Diatonic passing tones can be illustrated in this excerpt from a Charlie Parker line. The notes of the Gtriad are clearly delineated as they occur on the strong beats of the measure. The passing tones on theup beats move the line to the next chord tones.

4.1 Diatonic passing tones

& # c jœ œ œ œ œ œ œ œ œCT PT CT PT CT CT PT CT

œ œ

This excerpt from a Charlie Parker blues improvisation illustrates the combinations of diatonic andchromatic passing tones between adjacent chord tones. The Gn is a diatonic passing tone between F andA, followed by the chromatic passing tone G#. The chromatic G# creates more pull to the chord tone An.The G# is not heard as a minor third of F (Ab), but as a raised pitch which wants to continue in the direc-tion in which it has been altered. The Bb is a diatonic passing tone between An and C. The addition ofthe Bn reverses the tendency of the Bb to point down as an upper neighbor tone to the A, and propelsthe line up to the C.

4.2 Chromatic passing tones

& b c œ œ œ# œ œ œnCT PT PT CT PT PT

JœCT

NEIGHBOR TONES

Tones on either side of a primary pitch are called neighbor tones (NT). The common practice in mostmusic from the Baroque period to the present is to use the diatonic (from the scale or mode) upperneighbor tone (UNT) and the chromatic lower neighbor tone (LNT). In some situations, the LNT may belabeled a chromatic leading tone (LT). A diatonic instead of chromatic LNT may be found in some folkand ethnic music which is often due to chromatic limitations of the instruments and not musical prefer-ences.

It is easy to determine the LNT since it is chromatic. It will always be a half step below the tone to whichit points. It should be written with a different letter name and with either a sharp or a natural sign. F#, notGb is the LNT to Gn. A#, not Bb, is the LNT to Bn.The UNT may be harder to determine and will change depending on the key signature, mode or scale. Asimple C major triad (C-E-G) will have different UNTs depending on the key signature and context. A Cmajor triad can be found as the tonic (I) in the key or C major, as the subdominant (IV) in the key of Gmajor, and as the dominant (V) in the key of F major or F minor.



A C major triad will have the same UNTs and LNTs in the key of C major or F major.

C as I in C C as V in FUNTs LNTs UNTs LNTs

& œ ˙ œ ˙ œ ˙C

œn ˙ œ# ˙ œ# ˙C

& b œ ˙ œ ˙ œ ˙C

œn ˙ œ# ˙ œ# ˙C

The LNTs for the C major triad remain chromatic in the key of G major, but the UNT to E is an F# fromthe key signature.

C as IV in GUNTs LNTs

& # œ ˙ œ# ˙ œ ˙C

œn ˙ œ# ˙ œ# ˙C

If the C major triad is in the key of F minor, all of the diatonic UNTs are also chromatic.

C as V in F minor

& bb b b œb ˙ œ ˙n œb ˙C

œn ˙ œ# ˙n œ# ˙C

The distinction is evident in Chopin’s choice of UNTs in this excerpt. The C7 chord is the dominant ofF minor and yields the Db, F and Ab as UNTs to the C, E and G. Note how the Bn, a chromatic LT, pointsup to the Cn. The use of a Bb would have made the line want to move down to the Ab. Listen to how thepenultimate Bb points down to and finally resolves to the Ab.

4.3 Chopin: Nocturne in Eb major, Op. 9, No. 2

&

?

bb b

b b b

812

812

œ œn œ œb œ œ œn œ œœb œ œ .œ œ

œœœn œœœ œ

œœœœœœœœb œœœ œ

œœ œœœ

A C minor triad can be found as the supertonic chord (ii) in Bb major, the mediant (iii) in the key of Abmajor, and as the submediant (vi) of Eb major or the tonic of C minor (i). Notice how the UNTs changeaccording to the context. The UNT to the tonic is a whole step above when C minor is a ii, vi or i chord,



but as a iii chord the UNT is a half step above tonic. When C minor is a ii chord, the UNT to the G is An,a whole step above, but when C minor is a vi, i or iii chord, the UNT is Ab.Cm as ii in Bb Cm as vi in Eb or i in C minor

& bb œ ˙ œ ˙b œn ˙Cm

œn ˙ œ ˙ œ# ˙Cm

& bb b œ ˙ œ ˙b œb ˙Cm

œn ˙ œ ˙ œ# ˙Cm

Cm as iii in Ab

& bb b b œb ˙ œ ˙b œb ˙Cm

œn ˙ œn ˙ œ# ˙Cm

NEIGHBOR TONE COMBINATIONS

Neighbor tones are often found in combinations. These combination neighbor tone patterns have beencalled double neighbor tones, changing tones, encircling, or enclosing tones. There are a limited num-ber of possible patterns that involve the basic chord tone (CT) and both the upper neighbor tones(UNT) and lower neighbor tones (LNT). The possible combinations are:

Combination Inverse

UNT–LNT–CT LNT–UNT–CTCT–UNT–LNT–CT CT–LNT–UNT–CTUNT–CT–LNT–CT LNT–CT–UNT–CT

UNT–LNT–CT LNT–UNT–CT

& œ œ ˙ œ œ# ˙ œ œ# ˙C

œ# œ ˙ œ# œn ˙ œ œn ˙C

UNT–LNT–CT LNT–UNT–CT

& œ œn ˙ œn œ ˙b œb œ# ˙Cm

œ# œb ˙ œ œn ˙ œn œ ˙Cm

CT–UNT–LNT–CT CT–LNT–UNT–CT

& œ œ œ ˙ œ œ œ# ˙ œ œ œ# ˙C

œ œ# œ ˙ œ œ# œn ˙ œ œ œn ˙C



CT–UNT–LNT–CT CT–LNT–UNT–CT

& œ œ œn ˙ œb œn œ ˙b œ œb œ# ˙Cm

œ œ# œb ˙ œb œ œn ˙b œ œn œ ˙Cm

UNT–CT–LNT–CT LNT–CT–UNT–CT

& œ œ œ ˙ œ œ œ# ˙ œ œ œ# ˙C

œ# œ œ ˙ œ# œ œn ˙ œ œ œn ˙C

UNT–CT–LNT–CT LNT–CT–UNT–CT

& œ œ œn ˙ œn œb œ ˙b œb œ œ# ˙Cm

œ# œ œb ˙ œ œb œn ˙b œn œ œ ˙Cm

Charlie Parker and Oscar Peterson ignored the individual harmonic details and generalized the tonictriad in the following examples. The four note neighbor tone pattern follows the arpeggio. The first noteof the pattern is the UNT followed by the chord tone (CT), the LNT and the CT again, then a jump ismade to the next chord tone’s UNT.

4.4 Tonic triad encircled with UNT-CT-LNT-CT pattern

& c ‰ jœ œ œ œ œ œ œ œ œ œ# œœ œ œ# œ

C A7

œ œ œ œ œ# œ œ œ#Dm7 G7 œC

4.5 Tonic triad encircled with UNT-CT-LNT-CT pattern

& bb c√

œ œ œ œn œ œ œ œ œ œ œ œ# œ œ œ œn œ œ œ œ œ œ œ œ# œœ œ œn œ œ

As you can see from the following Beethoven example, this encircling idea is not new or unique to jazz.The pattern is the same one used by Parker and Peterson: UNT-CT-LNT-CT.

4.6 Beethoven: Symphony no. 9, third movement

& bb c œ œ œn œ œ œ œ œb œ œ œ# œ œ œ œn œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œn Œ

Chopin’s Etude No. 2, Op. 25 is an excellent study in the use of neighbor tones over simple triads.Shown below are two short excerpts illustrating the simple F minor and Ab major triads embellishedidentically in parallel phrases. The circled notes indicate the pitches of the triad. The chord tones, even



though surrounded by chromatic and diatonic neighbors are stressed due to their location on thestrong beats, and because all surrounding notes point back directly to the chord tones. If all the neigh-bor tones were removed, what remains is a quarter note triplet melody of the chord tones: 5-5-5-3-3-3-1.

4.7 Chopin: Etude No. 2, Op. 25 (F minor)

& bb b b c Jœ œ œ œ œn œ œ œ œb œ œ œ œn jœ4.8 Chopin: Etude No. 2, Op. 25 (Ab relative major to the F Minor)

& bb b b c Jœ œ œ œ œn œ œn œ œb œ œ œ œ jœ

Mozart used the pattern found in the Beethoven, Parker and Peterson examples, but added a leap awayto a chord tone and back to the original chord tone before continuing the sequence in the following twoexamples. Leaping away to another chord tone is called an arpeggiated tone.

4.9 Mozart: Piano Sonata in F major, K.332, Allegro Assai

& b 86 ≈œ œn œ œ œ œb œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ# œ œ œ jœ

4.10 Mozart: Sonata in F major, K.547a, Allegro

& b 43 .œ œ œ œ œœ œ .œ œ œ œn œ œ œ .œ œ œ œ# œ œ œ œ

Lee Morgan made this line interesting with the use of chromatic encircling of an F minor triad. Like theChopin example, the chord tones 5-3-1 occur on the downbeats so that not only do the chromatic notesresolve to the chord tones, but do so at significant rhythmic locations.

4.11 F minor triad with NTs

& c œ œ# œ œb œb œ œ œFm jœn

Tete Montoliu displaced the rhythmic accent in this syncopated example. He used a three note patternof UNT-LNT-CT.

4.12 Triad with NTs on the Blues

& b c œ3

œ œ# œ3

œ œ œn œF

3

œ œ œ3

œ œ œ œ œ œ œ œ œ Ó



Tom Harrell makes a case for practicing in all twelve keys in the next two examples. These are from dif-ferent tunes, different tempos and a half-step apart. The melodic material is identical with the exceptionof rhythmic displacement. These examples should inspire trying rhythmic displacement as a develop-mental tool in improvisation and practice. The encircling pattern is LNT-UNT-CT. Harrell encircled thethird and root of the chords in two octaves, but played the fifth of the chords without any embellish-ment.

4.13 E minor triad with NT elaboration

& c Jœ# œ œ œ# œ# œ œ œ# œ3

œ œ# œEm9

˙4.14 Eb minor triad with NT elaboration

& c Jœ œb œb œ œEbm9 œb œb œ œb œb

3

œ œ œ ˙b Ó

Joe Pass often used encircling patterns. In the following excerpt, Pass began a scale in the first measure,but relied on the encircling pattern CT-LNT-UNT-CT for the rest of the passage.

4.15 Encircling patterns

& œ œ œ œ œ œ œ œDm7 G7

œ œ œ# œ œ œ œ# œnC

œ œ œ œ œ œb œ#

C7

œÓ

F

If the folk-ethnic sound is desired, then a combination of all diatonic neighbor tones may be called foras in this modal melody.

4.16 Diatonic upper and lower neighbor tones

&

?

812

812

Ó . Œ Jœ œb Jœ

rœ# ..˙ rœ ..˙

œ jœ œ jœ œ jœ œ jœrœ# ..˙ rœ ..˙

œ jœ œb jœ .˙rœ# ..˙ rœ ..˙

The same neighbor tone pattern (CT-LNT-UNT-CT) used in the previous melody is used by Gluck in thisexample using the notes from a major scale.

4.17 Gluck: Orfeo

& c œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ jœ œ



ARPEGGIATED TONES

A simple stepwise line may be elaborated by leaping to other chord tones. The leap disrupts the calm ofthe stepwise line providing angularity and dramatic interest. Arpeggiated tones can replace the upper orlower neighbor tones as shown below.

4.18Simple melody: with PTs: with UNTs & PTs Arpeggiated tones replace UNTs:

& ˙ ˙ ˙ Ó œ œ œ œ ˙ Ó œ œ œ œ œ œ œ œ ˙ Ó œ œ œ œ œ œ œ œ ˙ Ó

CHROMATIC APPROACHES

Chromatic approaches involve a diatonic note and a chromatically altered note leading to an essentialtone. It may begin with the diatonic tone followed by the chromatic tone as a passing tone into the es-sential tone, or it may begin with the chromatic tone then a diatonic neighbor tone leading to the es-sential tone. The chromaticism adds color to the lines and the additional pitches often add rhythmicinterest. The essential chord tones often occur on strong beats in the measure and may be chromati-cally approached from above or below.

4.19 Notes of the C major Triad approached chromatically:

& œ œb ˙ œ œ# ˙ œn œ# ˙ œ œb ˙

4.20 Notes of the C minor Triad approached chromatically:

& œb œn ˙ œ œb ˙ œ# œ ˙b œ œn ˙b œ œ# ˙

A chromatic approach may be used in conjunction with other devices. In the example below, the simplemelodic fragment (G–E) can be elaborated with the F as a passing tone. The D# can be added after thepassing tone to create a combination neighbor tone pattern. The chromatic approach (D–D#) can beadded following the passing tone F to create one of the most common chromatic approaches.

4.21 Elaborated simple fragment

& ˙ ˙C

œ œ ˙ œ œ œ# ˙ œ œ œ œ# ˙



OCTAVE DISPLACEMENT & LEAPS

One or more tones of a simple line can be transposed to another octave. The leaps disrupt the smoothline and can add a dramatic element. Sometimes octave displacement may be a result of the range limi-tations of an instrument. An improviser may leap to a lower or higher register as the melodic linesreach the extremities of the instrument. The example below shows how a descending line from chordtones changes when the target tone is transposed to the upper octave. The octave displacement involvesskipping over a chord tone (shown with the “¿”). Leaps usually occur from a strong beat to a weak beatand rarely occur over a measure line or from a weak to a strong beat.

4.22

& ˙ ˙3 1

˙ ¿ ˙3 1

˙ ˙5 3

˙ ¿ ˙5 3

˙ ˙1 5

˙ ¿ ˙1 5

The simple triadic line shown in the first three measures may be transformed with octave displacementshown in the last three measures. The octave displacement adds range to the original idea and the leapsallow for more dramatic expression.

4.23

& c ˙ ˙3 1

˙ ˙5 3 1

˙ ˙3 1

˙ ˙5 3

˙1

Leaps and octave displacement may be accompanied by other devices. The line below was created usingthe triadic line from above with the octave displaced notes. The first chord tone is chromatically ap-proached from below. The line jumps up to the upper octave for the second chord tone, leaps past itand is chromatically approached . The next chord tones, the fifth and the third, are approached usingan identical pair of upper and lower neighbor tones. The octave displacement of basic pitches and theaddition of several chromatic approaches and neighbor tones has created a much more elaborate line,but at the same time, the line retains an uncomplicated understructure. The reduction of the line shownbelow illustrates the pure diatonic step construction of the elaborate line.

4.24

&

&

c

cœ œ# œ œ œb œ œ œ œ#

3 1

œœ( ) œ œ

œ œ œ# œ œ œ œn œ5 3 1œœ( ) œ œ œ œ



PEDAL POINT & PIVOT TONES

Pedal point is traditionally the term for a sustained note in the lowest register (as in the pedals of an or-gan), usually the dominant setting up a return to the tonic. The motion against the pedal point isoblique as one part remains stationary and the other moves. Pedal point may occur internally with thestructure of the music and may be termed a pivot note. The pivot note remains stationary while othernotes move. A simple descending step line can take on a sawtooth appearance when interrupted by apivot note. In the first example, the descending 5-4-3-2-1 line is made more angular by the pivot note Cand the chromatic leading tone to the A.. The second example shows an ascending 3-4-5 line made an-gular and interesting using the tonic pitch as a pivot tone and using the B as chromatic passing toneleading to the C.

4.25 Simple line enhanced using pivot tones

& b c œ œ œ œF

˙ Ó œ œ œ œ# œ œ œn œ

4.26 Simple line enhanced using pivot tones

& b c ˙ ˙F

˙ Œ3

œ œ œ3

œ œ œ3

œn œ œF

œ

TRIADIC MUSICAL EXAMPLES

Jazz improvisers do not limit themselves to one elaboration approach within their melodic lines. Hereare some excerpts from selected jazz improvisations to illustrate some of the devices described above.

Clifford Brown used passing tones and chord tones in the first two measures below. In the last completemeasure, Brown used a combination of neighbor tones (UNT-LNT) to approach the root, and chromaticapproaches to arrive at the third and finally the fifth of the Bb triad.

4.27 Chord tones and passing tones

& bb c ‰ j˙ œ œ ˙ ˙ ˙ œ ˙ œ œ ˙ œ œ ˙ œ œ# ˙œ œn ˙

Brown chromatically approached the third (D), encircled the fifth (F) and root (Bb) with upper andlower neighbor tones in this excerpt. The melodic fragment is based on the Bb major triad as Brownseemed to ignore the specifics of the harmony. It would be misleading to analyze these tones accordingto their vertical positions relating to the chords. The C# should not be analyzed as the raised root ofCm, and the En as the major seventh of the F7 chord. They are better described as two chromatic lead-ing tones to the third and fifth of the Bb triad.



4.28 Chromatic approaches to triad

& bb c Œ ‰ œ œ# œ œ œnCm7 F7

œ œ œ œ ŒDm7 G7

It is doubtful that Clifford Brown conceived of the notes in this line as pitches related vertically to theshown chords. Analyzing the tones vertically, the Bn and G# over a Gm, or a Bn over a C7 are senseless. Itis more likely that Brown used the tones from an F major triad as a generalization of the harmony andapproached each F major chord tone with its lower neighbor or leading tone.

4.29 Leading tones

& b c œn œ œ# œ œ œ œn œGm7 C7

œF

Here are two more examples of Bb triad generalization. In the first, Charlie Parker used leading tonessimilarly to Brown’s previous example. In the second, Brown elaborated the triad with a few grace notes.

4.30 Triadic generalization with leading tones

& bb c Œ œn œ œ#Bb Gm7 œ œ œ œ œ œ œCm7 F7

4.31 Triadic generalization

& bb c Ó œ œ œ ŒCm7

Œ œ œ œ jœ# œF7

˙Bb

Charlie Parker used a number of elaborative devices on an F major triad in the following excerpt. At a.,Parker used a lower neighbor tone which is mirrored at b. with the use of an upper neighbor tone. Theprimary pitches at c. and d. are the leap from C up to A. At c., the Cn was approached from its leadingtone Bn. The leap took the line past the target A, and sounded the Bb and G#, encircled the A with its up-per and lower neighbor tones. Passing tones were played at e. between the descending chord tones.

4.32 Triadic generalization with several elaborative devices

& b c œ œ œn œ œ œ œ œ œ œ ‰ jœn œ œ œ# œœ œ œ œ œ œ œn jœ

a. b. c. d. e.



Kenny Dorham began this phrase using the Bb triad pitches to generalize the harmony. In a subsequentphrase, Dorham began with the identical pitches, but as the line continued, addressed more of the spe-cific chord tones from the progression. It is important to note that there is rarely one single approachused by any individual throughout an improvisation.

4.33 Harmonic Generalization

& bb c Ó œ œ œ œBb G7

œ# œ œ œn œ œ# œCm7 F7

œ œ3

œ œ œ jœ .œDm7 G7

˙ ÓCm7 F7

4.34 Harmonic Specificity

& bb c Ó œ œ œ œBb G7 œ# œ œ# œn œ œn œb œCm7 F7 œ œ œn œ œ œb œ œ

Dm7 G7 œ œ œ œ œ œ œ œCm7 F7

& bb œ œ œb œ œ œ œ œBb7

œ œ œ œ œb œ œ# œnEb E°7

œ œ#3

œ œ œ œ œ ŒBb Cm7 F7

At the core of this line from a blues improvisation by Tete Montoliu is a simple line shown in the staffbelow the excerpt. Montoliu used F as a pivot tone in the first measure. The D is an upper neighbor tothe C which was octave displacement in the second measure. The A in m.3 was preceded by its upperand lower neighbor tone. The A in m.4 was approached from above and below finally through the G#.

4.35 F triadic Generalization

&

&

b

b

c

c6

œ œ œ œ œn œC7

˙ ˙ ˙

‰.œ œ œ œ œ#

F

˙ ˙3

œ œb œ œ œ œ œ œ œ œ#

˙ œ œ

œ œ Jœ

˙

Tete Montoliu encircled the primary pitches of the F triad in ex. 4.36 from a blues improvisation. In ex.4.37 Montoliu ignored the specific implications of the C7 chord and concentrated on chord tones fromthe F triad. The A was chromatically approached from below, and after a descending F arpeggio, the Awas preceded by its upper and lower neighbor tone, followed by the chromatic encircling of the C.


& b c œ3

œ œ# œ3

œ œ œn œF

3

œ œ œ3

œ œ œ œ œ œ œ œ œ Ó




& b c œ œ#3

œ œ œ œ œ# œ œ œb œnC7

jœ .œF

Examining this next example may lead one to conclude that anything goes since all twelve pitches arepresent in the line. All twelve pitches are used, but the chromaticism is not random. Each group ofchromatic tones points to a chord tone of the C triad. Each chord tone of the C triad occurs in strongmetric positions. The chromatic clusters create tension on the weaker beats which is resolved beforemoving to the next chromatic cluster. Clarity exists from the metric placement of the triad pitches andfrom the symmetry of the bracketed notes. The first two bracketed groups have identical intervals andthe third is an exact inversion.

4.38 C Triad with chromatic embellishment

& c Ó ‰ jœ#3

œ œn œbC

œ↓

œ# œ œb œ↓

œn œ œ# œ↓



TRIAD MOTIVE DEVELOPED

The triad shape by itself may produce interesting melodic lines, but imaginative manipulation of thetriad may make the melodic lines more interesting.

The simple arpeggio below is hardly enough to make an interesting theme. With the addition of simpledevelopmental devices, Bach used this basic structure to create a memorable and workable theme forthe Two-part Invention No. 8. The ascending arpeggio is transformed into a broken chord with theaddition of the F as a pivot or pedal tone giving the first measure interesting angularity. The descendingarpeggio is transformed into a smoother line with the use of passing and upper neighbor tones. Theangular and smooth parts of the theme provide a contrast of musical ideas for development.

4.39 Simple arpeggio idea Transformed to a theme by J. S. Bach

& b 43 œ œ œ œ œ œ .˙ ‰ jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó

The last nine pitches of the Bach theme can be changed to eighth note values and would be useful toany jazz improviser:

4.40

& b c œ œ œ œ œ œ œ œ ˙

Listen to what happens when the direction is changed. Upper neighbor tones are changed to lowerneighbor tones. The line is still clear and musical, and works in major or when transposed to theparallel minor.

4.41 Opposite motion with LNTs In minor

& c œ œ œ œ œ œ œ œb ˙ œ œ œ œ œb œ œ œb ˙

Arpeggio tones could be inserted in place of the UNT tones, and the motive remains musical. This ideais found in a John Coltrane improvisation.

4.42Bach theme with arpeggio tones: line with arpeggiated tones:

& b 43 œ œ œ œ œ œ œ œ œ œ œ œ Ó & c œ œ œ œ œ œ œ œ ˙ Ó

If the idea works in major will it work in minor? Below are three more variations of the idea: theColtrane line in minor, inverted in minor and in major. Listen to the Coltrane/Bach idea inverted andin a major key: it begins to sound like the Shaker tune Simple Gifts.



4.43in minor inverted in minor inverted in major

& c œ œ œ œ œb œ œ œ ˙ Ó œ œ œ œ œb œ œ œb ˙ Ó œ œ œ œ œ œ œ œb ˙ Ó

Parker (a.) used chromatic passing tones to outline the F major triad in this excerpt from a blues impro-visation. The F major triad pitches occurred on the strong beats. Lou Donaldson (b.) used almost the ex-act Parker line, adding only arpeggio tones. With the arpeggiated tones added to the Donaldson idea,the result is a jazzy version of Simple Gifts.

4.44 a. b.

& c œ œ œ# œ œb œn œ œ œb œ œ œ œ œ œ œ œ œ œ# œ œ œb œn œ œ œb œ œ œ œ œ œShapes related to the Bach theme can be found in these Cannonball Adderley improvisation excerpts:

4.45 Descending using UNTs and PTs

& c Œ œ œ œ# œ œ œD7

œ œ œ œ œ œ œ œ jœG

4.46 Ascending idea using LNTs

& b c œ œ# œ œ œ œ œ œGm7 œ œ

The previous line echoes this familiar melody:

4.47 Joshua Fought the Battle of Jerico

& bb c œ œ# œ œ œ œ œ œ Jœ œ Jœ ˙ Jœ œ Jœ ˙ Jœ œ Jœ œ Œ

The following pages illustrate several of the many possible elaborations of the basic triad pitchesreferenced to the C major and C minor tonic triads.



TRIADIC EMBELLISHMENT of C MAJOR TRIAD:

Tonic Mediant Dominant

& w w wLeading tones (LT) and Lower Neighbor Tones (LNT) & Chord Tone (CT)

& jœ ˙ œ œ ˙ jœ# ˙ œ œ ˙ jœ# ˙ œ œ ˙Upper Neighbor tones (UNT)

& jœ ˙ œ œ ˙jœ ˙ œ œ ˙

jœ ˙ œ œ ˙Encircled with UNT-LNT-CT patterns

& œ œ ˙ œ œ ˙ œ œ# ˙ œ œ ˙ œ œ# ˙ œ œ ˙Encircled with UNT-CT-LNT-CT & LNT-CT-UNT-CT patterns

& œ œ œ ˙ œ œ œ ˙ œ œ œ# ˙ œ# œ œ ˙ œ œ œ# ˙ œ# œ œ ˙Encircled with CT-UNT-LNT-CT & CT-LNT-UNT-CT patterns

& œ œ œ ˙ œ œ œ ˙ œ œ œ# ˙ œ œ# œ ˙ œ œ œ# ˙ œ œ# œ ˙Chromatic Approach from UNT or LNT through a Chromatic Passing Tone (PT)

& œ œb ˙ œ œ# ˙ œn œ# ˙ œ œb ˙Encircled with combinations of UNTs, LNTs & Chromatic PTs

& œ œ œb ˙ œ œ œn œb ˙ œ œ œ# ˙ œ œ œn œ# ˙ œ# œ œb ˙ œ œ# œn œb ˙Approached with arpeggio leaping from other chord tones above or below

& œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙Using PTs to pass between two chord tones

& ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ ˙ œ œ ˙ œ œ ˙Leaping from one chord tone to a note above or below another, resolving in opposite direction of leap.

& œœ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ# ˙ œ œ# ˙



TRIADIC EMBELLISHMENT of C MINOR TRIAD:

Tonic Mediant Dominant

& w wb wLeading tones (LT) and Lower Neighbor Tones (LNT) & Chord Tone (CT)

& jœn ˙ œ œn ˙ jœ ˙b œ œ ˙ jœ# ˙ œ œ ˙Upper Neighbor tones (UNT)

& jœ ˙ œ œ ˙jœ ˙b œ œ ˙

jœb ˙ œ œ ˙Encircled with UNT-LNT-CT patterns

& œ œn ˙ œn œ ˙ œ œ ˙b œ œ ˙ œb œ# ˙ œ œ ˙Encircled with UNT-CT-LNT-CT & LNT-CT-UNT-CT patterns

& œ œ œn ˙ œn œ œ ˙ œ œb œ ˙b œn œ œ ˙b œb œ œ# ˙ œ# œ œ ˙Encircled with CT-UNT-LNT-CT & CT-LNT-UNT-CT patterns

& œ œ œn ˙ œ œn œ ˙ œb œ œ ˙b œb œn œ ˙b œ œb œ# ˙ œ œ# œ ˙Chromatic Approach from UNT or LNT through a Chromatic Passing Tone (PT)

& œb œn ˙ œ œb ˙ œ# œ ˙b œ œn ˙b œ œ# ˙Encircled with combinations of UNTs, LNTs & Chromatic PTs

& œn œ œb ˙ œb œn œn œb ˙ œ œ œn ˙b œ# œ œn œn ˙b œb œ œ# ˙ œ œb œn œ# ˙Approached with arpeggio leaping from other chord tones above or below

& œ œb ˙ œ œ ˙ œ œ ˙b œ œ ˙b œb œ ˙ œ œb ˙Using PTs to pass between two chord tones

& ˙ œ ˙b œ ˙ ˙b œ ˙ œ ˙ ˙ œn œn ˙ œb œb ˙Leaping from one chord tone to a note above or below another, resolving in opposite direction of leap.

& œœb ˙ œ œ ˙b œb œ ˙ œ œn ˙ œb œ# ˙ œ œ ˙b



PENTATONIC SCALE

One of the most common groups of notes or scales in universal music is the pentatonic scale. As thename implies, a pentatonic scale is a five tone scale. The most typical pentatonic scale is really nothingmore than a major triad with two auxiliary tones. Pentatonic melodies are often merely triadic melodiesusing only the two additional pitches for elaboration. Amazing Grace contains only these five pitches:the tonic triad (primary pitches) and two additional tones (the second and sixth degrees). The majorpentatonic scale is two notes shy of the major scale; the missing notes being the fourth and seventh de-grees. With the absence of those two most dissonant notes of the major scale, the tritone, the remainingfive notes are quite consonant. The relative consonance of the pentatonic scale may help to explain itsubiquitous melodic use.

In the same way that major scales are related to minor scales, the major and minor pentatonic scalesare related. An F major pentatonic shares the pitches with D minor pentatonic.

4.48 F Major Pentatonic D Minor Pentatonic

& b c ˙ œ ˙ ˙ œ ˙˙ ˙ œ ˙ œ ˙

There are many modes and applications of pentatonic scales that go beyond triadic generalization thatare discussed in chapter 16.

BLUES SCALES

Is there really a blues scale? They, like many aspects of music theory may be the result of academic la-beling and codification. There is a certain grain of truth to the existence of blues scales. A blues impro-visation by Parker, Clifford Brown or Wynton Kelly may contain elements of what could be labeled ablues scale, but the improvisations also draw on many other elements in the course of the improvisa-tions. Also, many phrases that we would without a doubt call a blues lick may not be constructed strictlyusing notes from the labeled blues scale. These blues licks would probably have elements found in bluesscales and triadic generalization. Blues scales are another form of triadic generalization.

What is commonly called the blues scale would be better labeled the minor blues scale. The examplebelow shows that an F minor blues scale is constructed from an F minor pentatonic scale with oneadded chromatic tone. This means the minor blues scale is just as useful as the minor pentatonic for useas triadic generalization material.

4.49 F Minor Pentatonic F Minor Blues Scale

& bb b b c ˙ ˙ œb ˙ œ ˙ ˙ ˙ œ œn ˙ œ ˙



Every high school jazz band member seems to know the minor blues scale. This may be because manyof their band directors know little else to teach them about jazz improvisation. Students are usually in-structed to use this scale to improvise over Blues in F major. Up to a point, students will have fun play-ing this over a major blues, but after a while, the students intuitively begin to realize there is more to jazzthan just the minor blues scale. They also begin to sense the missing major third. After playing the mi-nor third and fourth over and over they are ready to hear it resolve to the major third, but alas, it is notin the scale given to them by their teacher. Knowing a major blues scale would help them play over Fmajor blues.

The major blues scale is nothing more than a major pentatonic with a chromatic tone added. Thechromatic tone will sound like a chromatic approach tone to the major third, or in another context, willsound like a minor third. The two blues scales are related in the same way major and minor are related.An F major blues scale has the same notes as an D minor blues scale. An F minor blues scale is relatedto an Ab major blues scale. F major and F minor are parallel.

4.50 F Major Pentatonic F Major Blues Scale

& b c ˙ œ ˙ ˙ œ ˙ ˙ œ œ# ˙ ˙ œ ˙

4.51 D Minor Pentatonic D Minor Blues Scale

& b c ˙ ˙ œ ˙ œ ˙ ˙ ˙ œ œ# ˙ œ ˙4.52 F Minor Pentatonic F Minor Blues Scale

& bb b b c ˙ ˙ œb ˙ œ ˙ ˙ ˙ œ œn ˙ œ ˙

4.53 Ab Major Pentatonic Ab Major Blues Scale

& bb b b c ˙ œ ˙ ˙ œ ˙ ˙ œ œn ˙ ˙ œ ˙

Jazz artists will use the major and minor blues scales as colors but will mix them in with other conceptsand sounds.

Aside from the obvious application (minor blues for minor tunes, major blues for major tunes) a minorblues scale can often be used in a major key, but it would be hard to find an example of major bluesplayed in a minor key setting. In a major context both blues scales are often called upon, so that in an Fmajor tune, F major or F minor blues scale may be heard. The imposition of the flatted third, flattedfifth and flatted seventh from the minor blues scale, notes often labeled “blue notes,” creates a nice ten-sion over the major harmony, which is often resolved to the major triad notes. One can tell quite agood story just going back and forth between the woeful, gritty minor blues scale and the major bluesscale with the “pretty notes,” and still be relying on the basic triads for the underlying structure of theimprovisation.



BLUE NOTES

Blue notes can be more than just chromatic altered tones; they may be bent tones finding the in-be-tween pitches not available in European equal tempered twelve tone chromatic scales. The easiest andmost common definition for blue notes includes the flatted third, seventh and fifth tones of a majorscale. You must listen to singers to understand the elastic quality of these pitches. Singers, guitarist, stringplayers, and many horn players can find the blue notes more easily than a pianist who is stuck with thetwelve keys on the piano. A blue note will not necessarily be a constant pitch: it may be approached anddeparted by a slide and when held, the intonation may vary by a few cents for expression. There aresome outstanding R&B recordings that, depending on your perspective, are in either major or minorkeys. One guitarist may have played a dominant seventh chord with a major third in the left channel; inthe right channel another guitarist played a C minor seventh chord with a minor third; and the singersang a blue note third that was in between the major and minor third. Limited by the notation system,the blue notes in the following examples will be labeled as b3, b7, and #4 or b5.

A blue third may occur in place of a major third. The occurrence of a blue flatted third over the majorchord creates a conflict with the major third that allows the expression of things not available withequal tempered scales.

4.54 3 - 1 Blue note replacement 3 - 2 - 1 Blue note replacement

& b c ˙ ˙F

.œb X jœ ˙F

œn œ ˙F

œb X œ œ œ ˙F

These same pitches occur in D minor, the relative minor to F major. The Ab is now the flatted fifth.


& b c ˙ ˙Dm

.œb X jœ ˙Dm

œn œ ˙Dm

œb X œ œ œ ˙Dm

The above example shown in the parallel key of F minor


& bb b b c ˙ ˙Fm

.œb X jœ ˙Fm

œn œ ˙Fm

œb X œ œ œ ˙Fm

The flat seventh may be used over a major chord. It often mirrors the kinds of motion of the blue third.The blue seventh and the blue third often point to the primary pitches tonic and dominant.

4.57 Lowered third and seventh Blue Notes

& b c .œb jœ ˙F

.œb Jœ ˙F

œb œ œ œ ˙F

œb œ œ œ œ œ œF



The flatted fifth can point down the third or as a raised fourth up to the fifth. In this way they behave aschromatic passing or leading tones, but in performance with vocal inflections may be appropriately de-tuned.

4.58 Flatted fifth and raised fourth Blue Notes

& b c JœbX .œ> œb

X

œ œ3Jœn .œ>Jœb .œb> œb

X

œ œ œ3

Ó œ œb œ œn œ œ œ œ

Pianist may use grace notes to compensate for the inability of the piano to bend notes.

4.59 Blue Grace notes

& b c Jœœœœn œœb œœb œ œœ jœ# œœn œ

BLUES SCALE MUSICAL EXAMPLES

Here is a brief collection of major and minor blues scale ideas and a few examples with combinationsof the two scales. Add to this list from your own search and create some of your own triadic generaliza-tion lines based on these blues scales.

MAJOR BLUES SCALE

Below are several straight forward and familiar examples of the major blues scale used in compositionsand improvisations. The third note of the major blues scale can sound like a raised second or a loweredthird depending on the context. In ex. 4.60, it sounds like a flatted third. In ex. 4.61 and 4.62, the note is araised second leading into the major third. In ex. 4.63 the same pitch is used twice in two different ways:the first as a leading tone (G#) to the third, the second time as the minor third (Ab).

4.60 Major Blues Scale

& bb b c œ œ Œ œ Œ ‰ Jœ ‰ jœb œ œ œ œ œ œ Œ œ Œ ‰ Jœ ‰ jœb œ œ œ œ


& bb c Ó Œœ œ œ œ œ# œ œ

œ œ ‰ Jœ œ# œ Ó


& b c œ œ œ# œ œ œ œF œ ˙ œ œ




& b c ‰ jœ# 3œ œ œ œ Œ Œ œF

Œ ‰ Jœ œœb œ œ

MINOR BLUES SCALE

Wynton Kelly used the minor blues scale in this emphatic climax to this Bb major blues improvisation.

4.64 Minor Blues Scale

& bb c ‰ Jœœœœ œœnn œœbb œœbb

3œœ œ œb œœ œœ ‰ Jœœœbb œ œœ

Bb7‰ Jœœœ œb œ œ œœb

œœ

& b b3

‰œœnn œœbb J

œœbb3œœ œb œn œb

Adderley also made the minor blues scale work over the Bb major blues progression.


& c ‰ Jœb3œ œb œb

3jœ œn œ3

œb œb œb œ œ œ œb ˙bCarl Fontana ignored the indicated chord progression and drove this minor blues scale through to anexciting conclusion in this improvisation. Notice that at the end, the minor third is finally resolved to amajor third. It would be foolish to analyze each note in relationship to the chords above them. It wouldbe better to recognize the strength of the melodic line through the use of the minor blues scale as ageneralization, and the use of a repeated sequential idea that led to a logical conclusion.


? cœb œ œ œ œ œ œ

D9 œb œ œ œ œ œ œb œ œb œ œ œ œ œ œb œC A7

œb œ œ œ œ œ œ œnDm7 G7 Cmaj7

COMBINATIONS of MAJOR & MINOR BLUES SCALES

These Charlie Parker and Wynton Kelly examples show how the two scales, although different in charac-ter, can be used side by side for a expressive blues line. Both are from a blues in C, both begin with amajor and end with a minor blues scale idea.

4.67 Major & Minor Blues Scales

& c œ Œ ‰ jœ3

œ œ œC

œ œ Œ œb œ3

œb œ œnF

jœC



4.68 Major & Minor Blues Scales

& c√

œ œ# 3œ œ œ œœœœ##œœœœ œœ œœbb œœ œœ œœbb œœ

GENERALIZATION EXAMPLES APPLIED

An improviser may approach any given harmonic context using harmonic specificity or harmonicgeneralization (or may choose to ignore the implications entirely). These next examples illustrate howa simple triad, embellished with only upper and lower neighbor tones can be used to create melodiesover traditional harmonic progressions.

Cm7 - F7 - Bb (ii7 - V7 - I) is the most common progression in the key of Bb major. The circled notes il-lustrate the primary target triad notes to which all of the other notes point. All of the secondary pitchesshould be analyzed by their linear relationship to the Bb triad and not their vertical relationship to theactual chords. The C# is not the raised root of Cm7, but the leading tone pointing to D, the third of Bb.The En is not the major third of Cm7, but a lower neighbor tone to the F. Any vertical dissonances areresolved by logical linear conclusions. There are those who analyze melodic lines like this where eachnote is shown with a number below it representing its relationship to each chord symbol. There aretimes when analysis of direct chord-tone relationships is useful, but it is important to recognize the dif-ference between harmonically specific and general melodic lines and one should always be aware of thelinear nature of music.

4.69 Triadic generalization over ii7 - V7 - I progression

& bb c œ# œ œ œn œ œ œ œnCm7

œ œ œ œ# œ œ œn œ

F7 Bb

1. 2. 3. 4. 5.

The primary pitches in this line are the root, third and fifth of the Bb triad: Bb - D - F.

1. D is approached through its leading tone C#2. Bb is preceded by its lower and upper neighbor tones (A & Cn)3. F is sounded, then its upper and lower neighbor tones (G & E), then F returns4. D is approached by its upper neighbor tone (Eb) and chromatically from below through

the chromatic passing tone C#5. Bb is preceded by its lower and upper neighbor tones (A & Cn)

The same triadic generalization principles are can be effectivly applied when the progression is in aminor key. The line below corresponds directly to the Bb major line above transposed to its relative mi-nor. The progression in G minor is Aø7 - D7 - Gm (iiø7 - V7 - i). The line is created generalizing the Gminor triad. As before, any vertical dissonances should be analyzed and by their linear relationships tothe basic G minor triad pitches.



4.70 Triadic generalization over iiø7 - V7 - i progression

& bb cœ œ œ# œ œ œ œ œ#

Aø7

œ œ œ œn œb œ# œ œD7 Gm

1. 2. 3. 4. 5.

The primary pitches in this line are the root, third and fifth of the G minor triad: G - Bb - D.

1. Bb is approached through its leading tone A2. G is preceded by its lower and upper neighbor tones (F# & A)3. D is sounded, then its upper and lower neighbor tones (Eb & C#), then D returns4. Bb is approached by its lower neighbor tone (A) and from above through the chromatic

passing tone Bn. The chromatic approach is different here than in the precedingexample. (This approach is to a minor third, the previous was to a major third, so theshapes must be inverted.)

5. G is preceded by its lower and upper neighbor tones (F# & A)

Sometimes the linear and vertical analysis will agree. Most of the notes in the second measure abovecould be labeled as chord tones of the D7 chord: Root - 5th - 7th - PT or n13 - b13 - 3rd - 5th. But whenexamining the melodic line as a whole, the analysis as tones related to the G minor triad proves moresignificant.

It seems an impossible task to improvise melodic lines at any tempo by thinking of each individualpitch. Successful lines would be difficult to achieve. This would be analogous to conceiving of a sentencethinking of individual syllables. It would probably lead to incomprehensible results. A better strategywould be to conceive melodic shapes of single pitches with larger rhythmic units (basic triad pitches)and the tones that surround and point to those pitches (neighbor tones). This would mirror the creationof sentences out of noun and verb groups and their modifiers. In your analysis of melodic material, beprepared to encounter many types of melodic lines. Be careful not to lose sight of the larger picture: ifone looks too closely at the vertical structures, the larger linear dimensions may be missed.

Triadic generalization as a tool for melodic invention requires the ability to recognize larger key areasaurally and by written chord symbols. Many tunes used for improvisation by jazz musicians stay closeenough to the tonic key area that very large sections may be generalized. Other tunes shift and modulaterapidly to remote keys areas before returning to the original key thus making generalization with a singletriad impossible, but may be possible to generalize within each of the remote keys. A study of harmonicprogressions is necessary to understand its impact on harmonically specific melodic development.

SUGGESTED ACTIVITIES

• Return the simple triadic forms in Chapter 3 and create new melodies incorporatingnon-harmonic tones as illustrated in this chapter.

• Transcribe examples of triadic generalization. Analyze specific devices used toelaborate the simple triadic shapes. Apply to improvisation.

• Practice exercises and study examples found in Comprehensive Technique for Jazz

Musicians, Chapter 3, Triads & Generalization.

Chapter 5 Diatonic Harmony 95


V. DIATONIC HARMONY

DIATONIC HARMONY: MAJOR

There are only seven basic spellings for all tertian triads. The seven pitches may be altered chromati-cally depending on the key signature. The basic triad spellings are created using every other letter in theseven letter musical alphabet. It is important to memorize them to correctly identify and notate the tri-ads. In jazz and modern music, the chord is usually extended beyond the triad by adding intervals of athird. A tertian triad is spelled 1-3-5; a seventh chord adds a third beyond the fifth and is spelled 1-3-5-7;a ninth chord is spelled 1-3-5-7-9; extended to the limit using seven diatonic pitches: 1-3-5-7-9-11-13. Allof these chords can theoretically be built on any degree of any scale, although some, as will be discov-ered, will be impractical.

ALL TERTIAN CHORD SPELLINGS

TRIAD SEVENTH CHORD EXTENDED TERTIAN1 3 5 1 3 5 7 1 3 5 7 9 11 13

A C E A C E G A C E G B D F

B D F B D F A B D F A C E G

C E G C E G B C E G B D F A

D F A D F A C D F A C E G B

E G B E G B D E G B D F A C

F A C F A C E F A C E G B D

G B D G B D F G B D F A C E

INVERSIONS

To determine the root of a tertian triad, the notes should be arranged as shown above. If the pitches C,A and F are found, rearrange them in the order of thirds to produce FAC, an F triad. Often the triads willnot have the root as the lowest tone. When arranged with the third or fifth in the bass, the triads are saidto be inverted. With the third in the bass, the triad is in first inversion; with the fifth in the bass, the triadis in second inversion.

5.1 Triads and inversions

& ˙ ˙ ˙ ˙˙ ˙

˙

C

Root 1st 2nd 1st 2nd

˙b ˙b ˙b ˙˙b ˙

˙bCm

Root 1st 2nd 1st 2nd

96 Chapter 5 Diatonic Harmony


Seventh chords may be in third inversion where the seventh is in the bass.

5.2 Seventh chords and inversions

& ˙b ˙˙b ˙˙˙b ˙˙˙bRoot 1st 2nd 3rd

It is extremely important to spell the triads correctly. A misspelled chord in a melody line or harmonypart will be harder to read and understand. It might sound exactly the same with alternate spellings, butproper spellings should be adhered to. I call this the “Ghoti” principle. It is doubtful that any two peo-ple would pronounce “Ghoti” the same way, yet the sounds are commonly found in the English lan-guage. Pronounce “Ghoti” using the “gh” sound from enough, the “o” sound from women, and the “ti”sound from motion. “Ghoti” would be more easily read if written as “Fish.” The triads below may soundlike C minor chords, but they are confusing to read as they are misspelled. A C triad must contain theletters C, E and G. A C minor triad should be spelled C - Eb - G, not C - D# - G.

5.3 Violation of the “Ghoti” Principle

& ˙˙˙# ˙# ˙˙# ˙˙# ˙

˙#Cm ?

FUNCTIONAL HARMONY

From the definition of tonal music, it is understood that melodic pitches tend to gravitate towards a sin-gle pitch, the tonic, which is the center of the musical organization. If chords built from major and mi-nor scales are combined in harmonic progressions, they typically progress towards the chord built onthe tonic. When progression of this kind are present, the harmony is said to function. Functional har-mony is the chords working together in a progression pointing towards the tonic.

Most European music since the early Baroque has been based on a concept called the major/minorsystem. This system depends on the tertian chords built on pitches from the major and harmonic mi-nor scales in progressions of functional harmony. Roman numerals are associated with the seven differ-ent chords found in each key. This author prefers the custom of using upper case for chords with majorthirds, and lower case for chords with minor thirds. The series of available seventh chords diatonic tothe key of C major is shown below.

5.4 Diatonic seventh chords in key of C

&

?

˙ ˙ ˙ ˙ ˙ ˙ ˙I(maj7) ii7 iii7 IV(maj7) V7 vi7 viiø7

˙ ˙ ˙ ˙ ˙ ˙ ˙



The common shorthand method for labeling the chords from the key of C are shown below.

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bø7I (maj7) ii7 iii7 IV (maj7) V7 vi7 viiø7

If the music is in the key of C, then the chords are spelled and sound as shown above. Just as the inter-vals of major scales, the chords and their roman numerals remain constant when transposing to newkeys. A chord built on the first degree of any major scale is a major seventh chord; a chord built on thesecond degree is always a minor seventh chord, and so on. If other chords occur on the same C majorscale degrees, but are different than what is shown above, then they are not in the key of C. A dominantseventh chord could be built on the second degree of the C major scale: D - F# - A - C. This cannot be aII7 chord in the key of C, as it contradicts the no sharps or flats definition of C major. Chords on thesecond degree must be minor seventh chords (ii7). This D7 chord would be from the key of G major.This can be determined by examining the chart above where the only scale degree that yields a domi-nant seventh chord is the fifth degree. The fifth degree of G is D, so a dominant chord built on D mustbe from the key of G. The key can also be deduced by the F# from the key signature of G major. A minorseventh chord could be built on the fifth note of a C major scale, but this Gm7 chord could not be inthe key of C as its third, Bb, contradicts the no sharps or flats definition C major. The Gm7 could be a ii7chord in F, a iii7 chord in Eb, or a vi7 chord in the key of Bb.Fill in the chart below in order to become more familiar with the specific chords in the thirteen majorkeys. There are only twelve pitches in the chromatic scale, but the enharmonic equivalents Gb (6bs) andF# (6#s) are listed below. The keys of Cb major (7bs) and C# major (7#s) have been omitted in favor of theenharmonic equivalents of B major (5#s) and Db major (5bs). Be sure that the chords are spelledcorrectly, and not with an incorrect enharmonic spelling. The V7 chord in Db major will be Ab7, not G#7.The V7 chord of Gb and F# should be spelled with different roots even though they sound the same. Afterfilling out the chart, write out each of these chords in the thirteen major keys on staff paper. Do notwrite the key signatures at the beginning of each line, instead, place each accidental in front of notes togain familiarity with the spelling of each chord.

KEY Imaj7 ii7 iii7 IVmaj7 V7 vi7 viiø7

C Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bø7

F

BbEbAbDbGbF#B

E

A

D

G

Looking at the chart above, you will notice that several chords function differently depending on theirkey origins. A C major seventh chord may function as the I chord in C major, but also functions as theIV chord in the key of G. Minor seventh chords occur as ii7, iii7 or vi7 chords. Dominant seventhchords can only be found on the dominant (V7) pitch in each key. These are the most importantpointer chords to the key area and the tonic chord. This makes perfect sense as the dominant pitchpoints to tonic, and the other pitches of a dominant seventh chord point to the other pitches of a tonictriad.



The half-diminished chord occurs only on the seventh degree of major keys. It is called half-diminishedbecause the basic triad is diminished (m3-m3) but the seventh is the interval of a minor seventh andnot a diminished seventh. This chord is sometimes called a minor 7 b5. This is a terribly ambiguous des-ignation. A minor chord must have a perfect fifth in order to be minor, so it cannot be minor with a b5.The b5 also implies that this chord is somehow altered from its natural state, yet it is found quite natu-rally on the seventh degree of every major scale. The “ø” symbol, meaning half-diminished, suggests thechord has a 7th, so using “ø7” is redundant, but common.

DETERMINING THE KEY

There are four types of seventh chords available from any major scale:

CHORD TYPE INTERVAL CONSTRUCTION PLACE IN MAJOR KEY

Major 7th M3 - m3 - M3 I or IV

Minor 7th m3 - M3 - m3 ii7, ii7, or vi7

Dominant 7th M3 - m3 - M3 V7

Half-Diminished 7th M3 - m3 - M3 viiø7

This chart can be used to identify the key when examining a set of chords from music. If the chord is aV7 or viiø7, the key will be easy to identify as they only occur on one degree of the scale. If a chord is amajor 7th, it could be the I or IV from two possible keys. If it is a minor seventh, it is from one of threepossible keys as a ii7, iii7 or vi7. The key can be determined when encountering major seventh or minorseventh chords by examining the chords that surround them.

A Dm7 chord can be found as the ii7 chord of C major, the iii7 of Bb major and the vi7 of F major.Chords occur by themselves only in theory classes; in a harmonic progression, there will be otherchords that will help identify the function and the indicated tonic. The dominant chord is the most use-ful for identification as there is only one per key. To determine the function of the Dm7 chord, look firstfor the V7 of C (G7), the V7 of Bb (F7), and the V7 of F (C7) as they will clearly identify the key. If theyare not present, the other surrounding chords will help. Contrast the three types of chords built on E inthese three keys. In C = Em7 (iii7); in F = Eø7 (viiø7); and in Bb = Ebmaj7 (IV). All are distinctly differentquality chords. The key should be easily determined by the combination of the Dm7 and whatever Echord is present in the surrounding musical context.

An F major 7 chord could be the I of F or the IV of C. Dm7 chord could be the ii7 of C major, the iii7of Bb major or the vi7 of F major. An Am7 chord might be the ii7 of G major, the iii7 of F major or thevi7 of C major. What if they are all in one progression? Which of these four keys (F, C, Bb and G) is im-plied?

The Fmaj7 and Dm7 chords rule out the key of G. The Am7 and Fmaj7 rule out the key of Bb. That leavesthe keys of C and F. Without further chords, a single key cannot be determined. It could be either key asshown below.

Am7 Fmaj7 Dm7

Key of C: vi7 IV ii7

Key of F: iii7 I vi7



At least one more chord is needed in the progression to narrow the choice to just one key. What chordsare different between the two keys of F and C major? The difference between the two keys is the Bn in thekey of C, and the Bb in the key of F. One of the four seventh chords that contain a B is needed to makethe determination: BDFA, GBDF, EGBD or CEGB. In the key of F those chords would be Bbmaj7 (IV),Gm7 (ii7), Eø7 (viiø7), and C7 (V7). In C they would be Bø7 (viiø7), G7 (V7), Em7 (iii), and Cmaj7 (I).Anyone of these chords in combination with the three shown above would narrow the choice to onlyone key.

CHORD IDENTIFICATION PRACTICE

I. Practice the identification of chords by their relationship to home keys by quickly filling in theblanks in the following exercises. (solutions shown on pages 114-115)

CHORD FUNCTION KEY

ii7 F

C#7 V7

Ebmaj7 BbEø7 viiø7

V7 G

Fm7 DbBb7 Eb

Fmaj7 IVmaj7

iii7 G

Abm7 GbImaj7 A

Cm7 vi7

CHORD FUNCTION KEY

ii7 BbDbmaj7 Ab

Dø7 viiø7

A7 V7

Fmaj7 F

iii7 D

vi7 AbF#ø7 viiø7

Am7 C

Cmaj7 IVmaj7

V7 C

Cø7 Db

CHORD FUNCTION KEY

Dmaj7 D

Ab7 V7

iii7 C

Dm7 F

ii7 DbDm7 iii7

V7 GbGm7 Bb

Bbmaj7 IVmaj7

C#7 V7

Dbmaj7 Dbii7 Ab

CHORD FUNCTION KEY

F7 V7

Abma7 EbImaj7 Ab

ii7 G

E7 A

Bm7 vi7

C7 F

ii7 C

Gmaj7 IVmaj7

Bm7 A

Fm7 ii7

iii7 Ab



CHORD FUNCTION KEY

Cmaj7 Imaj7

V7 AbEm7 G

ii7 F#Ebmaj7 Imaj7

Gm7 EbFm7 vi7

Bbmaj7 I

ii7 Abiii7 A

Gbmaj7 DbF#m7 vi7

CHORD FUNCTION KEY

Em7 D

V7 BbAm7 ii7

C7 F

G7 V7

ii7 F

D7 V7

ii7 BbDm7 C

V7 D

Gmaj7 Imaj7

Dmaj7 A

II. Identify the key that is home to the following combination of chords. Some combinations arewritten more than once because they could be from more than one key.

CHORDS FUNCTION KEY

Dm7 - Em7 ii7 - iii7 C

F#m7 - G#m7

Am7 - Bbmaj7

Gmaj7 - A7

Dm7 - Bø7

Ebmaj7 - Gm7

Ebmaj7 - Gm7

CHORDS FUNCTION KEY

Amaj7 - Dmaj7

Dbmaj7 - Bbm7

Dbmaj7 - Bbm7

Ebmaj7 - Dm7

Ebmaj7 - Dø7

Cm7 - F7

Gm7 - C7



DIATONIC HARMONY: MINOR

Lowering the third, sixth and seventh degrees of a major scale creates a parallel minor scale. This minorscale is known by several names including natural or pure minor, and aeolian mode. The natural minorscale has no leading tone and is therefore not used to derive the minor harmony in the major/minorsystem. In order to create a major/minor seventh chord (M3-m3-m3) on the dominant scale degree, thesubtonic (seventh degree) of the natural minor scale must be raised to create a leading tone. This cre-ates an exotic sounding interval of an augmented second between the sixth and seventh degrees of thescale. This scale, with its raised seventh degree, is appropriately named the harmonic minor scale andallows for the creation of two very important harmonic pointers: the V7 and vii°7 chords. Though de-signed for harmonic reasons, it is also quite useful for melodic construction.

5.5 Natural or Pure Minor Harmonic Minor

&?˙ ˙ ˙b ˙ ˙ ˙b ˙b ˙

˙ ˙ ˙b ˙ ˙ ˙b ˙b ˙&?˙ ˙ ˙b ˙ ˙ ˙b ˙ ˙

A2

˙ ˙ ˙b ˙ ˙ ˙b ˙ ˙A2

These chords are created from the C harmonic minor scale and are shown with the appropriate Romannumerals. The chord built on the third degree of the scale is shown in parentheses as it is not a func-tional chord.

5.6 Diatonic chords in key of C Minor

&

?

bb b

b b b

˙n ˙ ˙n ˙ ˙n ˙ ˙n

˙n ˙ ˙n ˙ ˙n ˙ ˙ni(maj7) iiø7 (bIIImaj7#5) iv7 V7 bVI(maj7) vii°7

The common shorthand method for labeling the chords from the key of C minor is shown below. Theselisted chords are derived from the harmonic minor scale only. The chord built on the third degree ofthe harmonic minor scale is not functional and is not used in the major/minor system. It does occur agreat deal in contemporary compositions. Remember that functional chords point towards the tonic.This chord and many others may be ambiguous, and therefore they cannot point to the tonic. This doesnot mean that they are not musically useful, in fact they are useful for the purpose of ambiguity.

Cm maj7 Dø7 (Ebmaj7#5) Fm7 G7 Abmaj7 B°7i (maj7) iiø7 (bIIImaj7#5) iv7 V7 bVImaj7 vii°7

Some theory books may list up to fifteen possible chords using the natural, harmonic and melodic mi-nor scales as sources. All of those chords do not function in the sense that they all do not point to thetonic minor. Without the leading tone, all of the chords would be identical to the chords in the relativekey of Eb major. The chords on the third, fifth and seventh degrees of the scale would be: Ebmaj7, Gm7,and Bb7. These chords no longer would function to point to the tonic C minor. The Gm7 is not a domi-nant seventh chord and therefore points away from rather than towards C minor. The Bb7 and Eb chords



will be heard as the dominant and tonic in the key of Eb. These chords point away from and so cannotfunction as pointers to C minor.

The other chord affected by the raised leading tone is the tonic chord. In traditional music, a tonicchord cannot have a seventh. In jazz, where unresolved dissonance is more common, a seventh can beaccepted. The minor/major seventh chord can be found in minor jazz progressions, but more often,when the resolution to the tonic minor occurs, it is either a simple triad with no seventh, or has a minorseventh. When a minor progression resolves to a minor seventh chord, it will sound less like a tonicchord and more like a ii7 or vi7 chord that signals a modulation to a new key. There will be more ex-amples of this when harmonic progressions and modulations are discussed. It could be argued thatwithin the major/minor system, only major tonality is stable, as the major third is found in the har-monic series and not the minor third. This may explain the tierce de Picardie, or Picardy third, theRenaissance and Baroque practice of ending pieces in minor with a major third.

There are fewer stable chords in minor keys than in major. In major, I, ii, iii, IV, V and vi are stable, withviiø7 being unstable. The instability of the tonic minor chord was discussed above. The iiø7 and thevii°7 chords are not stable because of their diminished fifth and the III chord from harmonic minor isunstable because of its augmented fifth. A iv7 chord is stable and often becomes a pivot chord inmodulating to the relative major. A pivot chord is shared by two keys signatures and may functionrelative to each in a modulation A iv7 chord in C minor, Fm7, is also the ii7 of Eb, the relative major keyto C minor. The iv chord often begins a modulation to the relative major as in: Fm7 - Bb7 - Eb. The bVIchord is stable and often acts as a pivot chord between a minor key and its relative major. A bVI chordin minor becomes the IV chord in the relative major.

For the purposes of discussing functional harmony in minor, only six chords will be discussed:

5.7 Diatonic chords in key of C minor (harmonic minor)

& bb b ˙ ˙ ˙ ˙n ˙ ˙ni iiø7 iv7 V7 bVI(maj7) vii°7

Three chords shown above do not include the leading tone: the supertonic, subdominant and submedi-ant. Melodically these chords are often treated using the notes of pure or natural minor to avoid theawkward augmented second degree. Since the tonic chord in minor is often a pivot chord to other keys,it too will often be treated with natural or pure minor, and in some instances with melodic minor. Othermelodic substitutions will be discussed in chapter 14.



Fill in the chart below in order to become more familiar with the specific chords in the thirteen minorkeys. After filling out the chart, write out each of these chords on staff paper. These are listed in the sameorder of key signatures as the chart shown for major keys. This chart lists thirteen keys again using theequivalents of Eb minor (6bs) and D# minor (6#s). The keys of Ab minor (7bs) and A# minor (7#s) havebeen omitted in favor of the enharmonic equivalents of G# minor (5#s) and Bb minor (5bs). Be sure touse the correct spelling and not mix accidentals.

KEY i iiø7 bIIImaj7#5 iv7 V7 bVImaj7 vii°7

A minor Am Bø7 Cmaj7#5 Dm7 E7 Fmaj7 G#°7D minor

G minor

C minor

F minor

Bb minor

Eb minor

D# minor

G# minor

C# minor

F# minor

B minor

E minor

There were four types of seventh chords derived from the major scale: major/major seventh, mi-nor/minor seventh, major/minor, and half diminished seventh. All four of these chords found in majorkeys have a place in minor keys. The harmonic minor scale adds three new seventh chords to the list:the minor/major seventh and the fully diminished seventh.

Chords available from the Major and Harmonic Minor Scales

CHORD TYPE PLACE IN MAJOR KEY PLACE IN MINOR KEY

Major 7th Imaj7, IVmaj7 bVImaj7

Minor 7th ii7, iii7, vi7 iv7

Dominant 7th V7 V7

Half-diminished 7th viiø7 iiø7

Minor Major 7th n/a i (major 7th)

Major 7th # 5 n/a bIII major 7# 5Diminished 7th n/a vii°7

It cannot be assumed that a major seventh chord is always a I chord (it could be a I, IV or bVI) or that aminor seventh chord is always a ii7 chord (it could be a ii, iii, vi, or iv). These assumptions get manybeginning improvisers into trouble. Groups of chords within the progression must be analyzed in orderto determine the key for a particular passage.

The chart above shows that the only occurrence of a major/minor seventh chord in major or minorkeys, is on the dominant pitch. This is why a major/minor seventh chord is called the dominant seventhchord. That means that for now in this discussion, all dominant chord symbols are, in fact, dominantchords: a G7 is the V7 of C major or C minor, a D7 is the dominant of G major or G minor. In laterchapters dealing with substitutions, chords that sound like dominant chords but do not function as dom-inant chords will be discussed. But for now a V7 is a V7 of major or minor.



DETERMINING the KEY

HALF DIMINISHED CHORDS

A half diminished chord is found on the second degree (iiø7) of a harmonic minor scale and from theseventh degree (viiø7) of a major scale. The half diminished chord is more often used as a iiø7 chordin minor than as a viiø7 in major. The fact that relative major and minor keys share the same half di-minished chord is significant. This chord is often used as the common or pivot chord when modulatingfrom the major to its relative minor. It is often accurate to assume that a half diminished chord is apointer to a minor key, so that Eø7 is more likely the iiø7 of D minor than the viiø7 of its relative F ma-jor.

FULLY DIMINISHED CHORDS

The only place within the major/minor system that a fully diminished seventh chord can be found is onthe seventh degree (vii°7) of harmonic minor. This is an often misunderstood chord. It can be spelledin many different ways and still sound the same when heard out of context. It is the chord sound that ismost often violated by the “Ghoti” principle. The vii°7 chord, B°7, must be spelled: B-D-F-Ab in order tobe from the key of C minor. Play these notes on the keyboard and they sound the same as a D°7, F°7 orE#°7, and Ab°7 or G#°7. All of these chords should be spelled differently according to their function. TheD°7 is the vii°7 of Eb minor and should be spelled D-F-Ab-Cb which corresponds to the key to which itpoints. F°7 is the vii°7 of Gb minor which is the key of nine flats! The chord would be spelled F-Ab-Cbb-Ebb.While most of us would prefer to see the Fn rather than E#, E# is the better choice for spelling this chord.The E#°7 (E#-G#-B-D) is the vii°7 of F# minor, which with only three sharps, is a much easier key to thinkabout than nine flats. Using the same logic, G#°7 (G#-B-D-F) is a better choice than Ab°7, since G#°7 is thevii°7 of A minor, with a no sharps or flats key signature, rather than Ab°7 (Ab-Cb-Ebb-Gbb) the vii°7 of Bbbminor with its twelve flats. The fully diminished chord may be used in inversion and this often leads tothe spelling errors. It may take some deciphering to accurately identify the fully diminished seventhchord in some instances, but let logic and simplicity prevail.

In a passage like Cm - B°7 - Cm, the function of the diminished chord is clear. Trouble may arise ifsome of these chords are to be played in an inversion. If the passage asks that the chords be played withdifferent bass notes (shown on the bottom of the slash with the chord on top) the diminished chord isoften misspelled as : Cm/Eb - D°7 - Cm. The D°7 may sound like a B°7 in first inversion, but it may bemisleading as labeled. A D°7 is really the vii°7 of Eb minor suggesting six flats. It would be more clearlylabeled: Cm/Eb - B°7/D - Cm. It has been argued that this labeling is unnecessary as the D°7 and B°7chords are enharmonically the same pitches. It will be easier to determine the key if the diminishedseventh chords are labeled more accurately, but in real world musical settings, be prepared for unusualspellings.

MAJOR SEVENTH CHORDS

To determine whether a Bbmaj7 chord is a I or IV in major or a bVI in minor, the surrounding chordsmust be taken into consideration. Bbmaj7 is the I chord in the key of Bb (2b), the IV chord in the key of F(1b), and the bVI chord in the key of D minor (also the key of one flat, but with the leading tone C#). Thedifference between one flat and two flats is the En or Eb. Any dominant chord will readily identify thekey. Bbmaj7 is a I chord when an F7 is present, a IV chord when a C7 is present, and a bVI chord whenA7 is present. An Fmaj7 would mean the Bbmaj7 chord is a IV chord. The presence of an Eø7 couldmean the Bbmaj7 chord is from F major or D minor, so another chord would be needed to clarify thekey. The determination can be made by looking for chords that contain either a Cn or a C#, the pitch dif-ference between F major and D minor. Those chords are C#°7, C7, or A7.



MINOR SEVENTH CHORDS

Because a minor seventh chord can occur as a ii7, iii7, vi7 in major and a iv7 in minor, it is a bit moredifficult to make a determination of the correct key. An Am7 chord could be the ii7 or G major (1#), theiii7 chord in the key of F (1b), the vi7 chord in the key of C major, and the iv7 chord from the key of Eminor (also the key of one sharp, but with the leading tone D#). Dominant chords are the easiest indica-tors, so look for them first. The presence of a D7, C7, G7 or A7 will establish the key. If the dominantchords are not present, look for chords which contain the difference pitches between the keys. Considerthese possibilities:

Am7 with chords that contain F# and Dn will be from the key of G:Am7 (Bm7 Gmaj7 D7)ii7 (iii7 Imaj7 V7)

Am7 with chords that F# and D# will be from the key of E minor:Am7 (B7 D#°7)iv7 (V7 vii°7)

Am7 with chords that contain Bn and Fn will be from C major:Am7 (Bø7 G7)vi7 (viiø7 V7)

Am7 with chords that contain Bb will be from F major:Am7 (Bbmaj7 Gm7 Eø7 C7)iii7 (IVmaj7 ii7 viiø7 V7)

Am7 with an F#ø7 could be in the key of G major or E minor.

Am7 with an Fmaj7 or Dm7 could be in the key of F or C major.

Am7 with an Em7 or Cmaj7 could be in the key of G or C major.

These lists of possibilities makes finding the correct key look more difficult than it actually is. Mostpieces stay in or stay close to one key. More familiarity with the diatonic chords of keys makes themeasier to recognize in groups and common progressions. These chords do not occur out of context, andthere will almost always be enough information to make the correct decision regarding key signatures.



CHORD IDENTIFICATION PRACTICE SOLVED

CHORD FUNCTION KEY

Gm7 ii7 F

C#7 V7 F#Ebmaj7 IV Bb

Eø7 viiø7 F

D7 V7 G

Fm7 iii7 DbBb7 V7 Eb

Fmaj7 IVmaj7 C

Bm7 iii7 G

Abm7 ii7 GbAmaj7 Imaj7 A

Cm7 vi7 Eb

CHORD FUNCTION KEY

Cm7 ii7 BbDbmaj7 IV Ab

Dø7 viiø7 EbA7 V7 D

Fmaj7 I F

F#m7 iii7 D

Fm7 vi7 AbF#ø7 viiø7 G

Am7 vi7 C

Cmaj7 IVmaj7 G

G7 V7 C

Cø7 viiø7 Db

CHORD FUNCTION KEY

Dmaj7 I D

Ab7 V7 DbEm7 iii7 C

Dm7 vi7 F

Ebm7 ii7 DbDm7 iii7 BbDb7 V7 GbGm7 vi7 Bb

Bbmaj7 IV F

C#7 V7 F#Dbmaj7 I DbBbm7 ii7 Ab

CHORD FUNCTION KEY

F7 V7 BbAbma7 IV EbAbma7 I AbAm7 ii7 G

E7 V7 A

Bm7 vi7 D

C7 V7 F

Dm7 ii7 C

Gmaj7 IV D

Bm7 ii7 A

Fm7 ii7 EbCm7 iii7 Ab

CHORD FUNCTION KEY

Cmaj7 I C

Eb7 V7 AbEm7 vi7 G

G#m7 ii7 F#Ebmaj7 I EbGm7 iii7 EbFm7 vi7 Ab

Bbmaj7 I BbBbm7 ii7 AbC#m7 iii7 A

Gbmaj7 IV DbF#m7 vi7 A

CHORD FUNCTION KEY

Em7 ii7 D

F7 V7 BbAm7 ii7 G

C7 V7 F

G7 V7 C

Gm7 ii7 F

D7 V7 G

Cm7 ii7 BbDm7 ii7 C

A7 V7 D

Gmaj7 I G

Dmaj7 IV A



CHORDS FUNCTION KEY

Dm7 - Em7 ii7 - iii7 C

F#m7 - G#m7 ii7 - iii7 E

Am7 - Bbmaj7 iii7 - IV F

Gmaj7 - A7 IV - V7 D

Dm7 - Bø7 ii7 - viiø7 C

Ebmaj7 - Gm7 I - iii7 EbEbmaj7 - Gm7 IV - vi7 Bb

CHORDS FUNCTION KEY

Amaj7 - Dmaj7 I - IV A

Dbmaj7 - Bbm7 I - vi7 DbDbmaj7 - Bbm7 IV - ii7 AbEbmaj7 - Dm7 IV - iii7 BbEbmaj7 - Dø7 I - viiø7 Eb

Cm7 - F7 ii7 - V7 BbGm7 - C7 ii7 - V7 F

108 Chapter 6 Harmonic Progressions


VI. HARMONIC PROGRESSIONS

COMMON ROOT MOVEMENT

The root of chords can move by any interval to the root of the next chord. Root movement can be byfifths and their inversion fourths, thirds and their inversion sixths, and seconds and their inversion sev-enths. Some interval motion and direction is more common than the others. The most powerfulmelodic motion is the downward fifth movement from the dominant to the tonic or its inversion,movement up a perfect fourth from dominant to tonic. The power of this motion has been surmised tobe due to its relationship to the overtone series: that the first interval in the series, other than the octave,is a perfect fifth above the fundamental. What is true for melodic motion is also true for root motion inharmonic progressions: the most common root movement is downward fifths (type 1). The second mostcommon root movements are upward in seconds (type 2) and downward in thirds (type 3). The inver-sion of these root movements are available, but less common.

The most common root movement of downward fifths is apparent in the most prevalent harmonic pro-gression: ii7 - V7 - I in major keys and iiø7 - V7 - i in minor keys. This progression occurs so often like abuilding block in major/minor system that it is imperative that they be memorized as any young studentmemorizes the multiplication tables. Fill out the two tables below and begin to memorize these chordsas a group. When a ii7 chord is encountered, the V7 and I may be next. Even if the progression is notfollowed through to the I chord, the ii7 and V7 chords point to and are still derived from the key of I.Remember to spell the chords correctly. The ii7 chord of F# major is G#m7, not Abm7. Spelling correctlywill save time and energy and earn respect from your peers. [Once, on a recording session, a composerhad written the melody in the key of six sharps, but wrote all the chord symbols in six flats. While onehand was playing G# - B - D#, the other hand had to think Ab - Cb - Eb. It was playable, but it unnecessarilydifficult and one of the worst violations of the “Ghoti” principle I have encountered.]

COMMON PROGRESSIONS in MAJOR

KEY ii7 V7 Imaj7

C Dm7 G7 Cmaj7FBbEbAbDbGbF#BEADG

Chapter 6 Harmonic Progressions 109


COMMON PROGRESSIONS in MINOR

KEY iiø7 V7 i

A minor Bø7 E7 AmD minorG minorC minorF minorBb minorEb minorD# minorG# minorC# minorF# minorB minorE minor

A harmonic progression will not always follow one type of root movement and is usually a mixture ofseveral types. Root movement by seconds and thirds is used as a contrast before eventually returning tothe strong, more common downward fifth movement. The following progression begins with type 3 rootmovement of downward thirds, followed by type 2 movement up in seconds and then the final move-ment to the tonic is type 1 movement of a downward fifth.

[Down 3rd] [Down 3rd] [Up 2nd] [Down 5th]

C Am7 | F G7 | CI vi7 IV V7 I

Type 1 movement can be inserted sooner using the ii7 chord in place of the IV chord. The roots movedown a third, down a fifth, down a fifth, and down a fifth. This progression is stronger because of themore frequent downward fifth movement.

[Down 3rd] [Down 5th] [Down 5th] [Down 5th]

C Am7 | Dm7 G7 | CI vi7 ii7 V7 I

This common progression is often repeated to make longer phrases. When repeated, the second tonicchord is often replaced with a iii7 chord. This removes the downward fifth movement (V7 - I) and re-places it with a downward third movement (V7 - iii7), but the continuation of the line (iii7 - vi7 - ii7 - V7- I) is all type 1 downward fifth movement. Another possibility is using the tonic chord in first inversionin place of the I or iii7 chord. The tonic inversion and the iii7 chord are often interchangeable and in-distinguishable from each other.

[Dn. 5th] [Dn. 3rd]

|C Am7 | Dm7 G7 | C Am7 | Dm7 G7 | C

[Dn. 3rd] [Dn. 5th]

|C Am7 | Dm7 G7 | Em7 Am7 | Dm7 G7 | C

|C Am7 | Dm7 G7 | C/E Am7 | Dm7 G7 | C



These same progressions are logical and musical in the parallel minor key.

C m Abmaj7 | Fm7 G7 | Cm . . .i bVI7 iv7 V7 i

C m Abmaj7 | Dø7 G7 | Cm . . .I bVI7 iiø7 V7 i

The progression is often inverted, aiming for, rather than beginning with the tonic chord.

| Dm7 G7 | C Am7 | Dm7 . . . ii7 V7 I vi7 ii7

| Dø7 G7 | Cm Abmaj7 | Dø7 . . . iiø7 V7 i bVI7 iiø7

APPLICATION of HARMONIC ANALYSIS

Recognizing that several chords are derived from one key allows an improviser to think in that one keyfor larger sections of a piece. In the following progression, the Roman Numeral Analysis (RNA) tells usthat the source for all of these chords is the key of C (I). Two facts can be deduced from that: (1) if thechords were constructed from a C major scale, it follows that a C major scale is a source for melodicmaterial over the chords; (2) If the chords are functioning to point to C as a tonic chord, it follows thata C major triad could be used for harmonic generalization over the passage. One scale works for allthose chords because those chords were derived from the scale. Since all the chords are functioning topoint to the C tonic triad, then melodies which generalize the tonic triad will function the same way ona different level. Any vertical dissonances are resolved as the line progresses towards its goal.Understanding RNA is more than assigning numbers to chords; it is directly related to melodic improvi-sation decisions.

| Em7 | Am7 | Dm7 | G7 | Cmaj7 | Fmaj7 . . .iii7 vi7 ii7 V7 I IV7

Implications:(1) C major scale works for melodic generalization . . .(2) C major triad works for melodic generalization . . .

HIERARCHY of CHORDS

The harmonic progressions ii7 - V7 - I in major keys and iiø7 - V7 - i in minor keys also illustrate the hi-erarchy of chords. The tonic chord, as the tonic pitch, is by definition where all progressions point.When preceded by its dominant, the strongest cadence or conclusion is perceived. The ii7 chord is themost common of several chords that precede the dominant. The chart below classifies the most com-mon pre-dominant., dominant, and tonic chords available from the major and harmonic minor scales.

PRE-DOMINANT CHORDS DOMINANT CHORDS TONIC CHORDS

IV V7 Iii7 viiø7 (rare) iiiø7 vii°7 I6 or iii as substitute for Iiv7 (sometimes vi7 as substitute for I)bVImaj7*

*bVI can be a predominant chord because of its similarity to iiø7 and iv7 and it can point to V7.



From the chart, it is clear that a ii7 and iiø7 chords both function as pre-dominant chords. This conceptcan lead to modal mixture where chords from the parallel minor key are used in place of the corre-sponding diatonic chords from the major key. The progression may point to the same tonic, but willsuggest a minor modality. These chords are said to be “borrowed” from the parallel minor key.

|Dm7 G7 | C ii7 V7 I

with a borrowed supertonic chord would become:

| Dø7 G7 | Ciiø7 V7 I

&

| C Am7 | Dm7 G7 | CI vi7 ii7 V7 I

with borrowed submediant and supertonic chords would become:| C Abmaj7 | Dø7 G7 | C

I bVI7 iiø7 V7 I

When improvising through a passage of borrowed chords, remember that the source scale and tonicchord have changed. The harmonic minor scale and tonic minor triad may be used for melodic mate-rial through the chords borrowed from minor.

The dominant seventh chords for both major and minor appear the same when using RNA. To deter-mined the scale from which the V7 chord is derived, examine the preceding chords. If a V7 is precededby pre-dominant chords from major (ii7 or IV) it is probably also derived from major. If a V7 chord ispreceded by pre-dominant chords from harmonic minor (iiø7, iv7, bVI) then the dominant should con-tinue as the V7 of a minor tonic. Examining the melody will provide clues. If notes from the minor keyare in the melody, then the V7 chord is derived from the minor key.

There is no difference between a G7 chord from C major and a G7 chord from C minor if the chord isonly spelled to the seventh: they are both spelled G-B-D-F. The difference occurs when consideringpassing tones between the chord tones. The key of C contains En and An, while C minor contains Eb andAb. When upper tertian extensions are added, the difference also becomes apparent. The ninth of a G7chord is An in the key of C major and Ab in the key of C minor. The thirteenth of a G7 chord is an En inthe key of C and an Eb in the key of C minor. Learning to recognize these basic alterations will helpidentify the sound called for in chord notation. In the chords below that include a thirteenth, the fifthwas eliminated.

6.1 Differences between V7 of C major and V7 of C minor

&

?

bb b

b b b

˙ ˙˙˙˙

˙ ˙ ˙G7 G9 G913

˙n ˙˙bn

˙˙bnb

˙ ˙ ˙G7 G7

b9 G7b13

b9

n 9 n 13 b9 b 13



Modal mixture and substituting more common root progressions can energize this simple progression.

| F | Em7 | Dm7 | CIV iii7 ii7 I

The first stepwise progression has more forward motion when chords are added between the originalchords which change the root movement to downward fifths.

| F | Em7 Am7 | Dm7 G7 | CIV iii7 vi7 ii7 V7 I

Adding three chords (iv7, iiø7 and G7b9) from the parallel minor add another colorful dimension.

| F Fm7 | Em7 Am7 | Dø7 G7b9 | CIV iv7 iii7 vi7 iiø7 V7 I

CLOSELY RELATED KEYS

Up to now this discussion has been confined to harmonic progressions that stay in one key center. Mostcompositions do not stay in one key, but temporarily modulate or tonicize keys that are closely related.Some progressions point away from the tonic almost immediately and go on long harmonic excursionsbefore returning to the home key. While it is possible to find music that journeys to very remote keys, agreat deal of music is created which moves in and out of closely related keys.

Closely related keys are those whose key signatures are one accidental away from the tonic key. If the keyof C is the home key, then related keys would be the relative minor which shares the same key signature(A minor), the key of 1b (F major and D minor), and the key of 1# (G major and E minor).

Primary Closely Related Keys to C major

1b 0#/0b 1#F C

(home key)

G

Dminor

Aminor

Eminor

If these related keys are lined up alphabetically, it is apparent that the closely related keys are also thefive other stable diatonic chords in the key of C major: (The chord on the seventh degree of major is anunstable chord because of its diminished fifth, and there is no diminished key.) The closely related keyshave a Roman numeral listed below indicating their relationship to the original key. D minor is the keyof ii, and so on.

Home: Closely Related Keys

C major D minor E minor F major G major A minorI i i iii IV V vi

Borrowed chords were discussed before as a way to get from a major key area to its parallel minor key.Jumping from the key of C with no sharps or flats to the key of three flats may appear to be remote, butconsidering that C major and C minor are parallel and they share the same dominant chord, then thejump is not so far. The closely related keys to parallel key of C minor (three flats) would be the keys oftwo flats and four flats. From the parallel move to C minor, the keys of Eb major, F minor, G minor, Abmajor, and Bb major become available.



Secondary Keys Available to C major through parallel C minor

4b 3b 2bFminor

Cminor(parallelhome key)

Gminor

Abmajor

Ebmajor

Bbmajor

C minor is parallel to the home key of C major. F minor and G minor are parallel to the primaryclosely related keys of F and G major.

The secondary closely related are shown with a Roman numeral listed below indicating their relation-ship to the original key. These Roman numerals do not indicate a chord function.

Parallel Home: Secondary Keys from Modal Mixture:C minor Eb major F minor G minor Ab major Bb major

i bIII iv v bVI bVII

A third level of closely related keys are available through another modal mixture. C minor and C majorare related as a parallel tonal centers but one is minor and the other major. The three primary closelyrelated minor keys to C major are D minor, E minor and A minor; the keys of ii, iii and vi. Each of theseprimary closely related keys has a parallel major so that D major (II), E major (III), and A major (VI)are available from the key of C major through modal mixture of close diatonic chords.

This chart illustrates several possible levels of modulation from the primary key of C major.

Tertiary Keys from modal mixture D major (II) A major (VI) E major (III)

D minor (ii) A minor (vi) E minor (iii)PRIMARY KEYS F major (IV) C major (I)

(home key)G major (V)

↓

Secondary Keys from parallel minor F minor (iv) C minor (i) G minor (v)

Ab major (bVI) Eb major (bIII) Bb major (bVII)

The combined keys available for smooth modulation from the home key of C major are illustrated inthe chart below. The keys are shown by the three levels: closely related diatonic keys with one accidentaldifference; keys closely related to the parallel minor; and keys available using modal mixture with thekeys of second, third and sixth degrees of the home key. The Roman numerals in this case do not referto chords, but to the new key in relationship to the home key. For example, the key of Bb is the major keyon the bVII related to the key of C; does not refer to a chord built on the seventh degree of the C majorscale.

Closely Related Diatonic I ii iii IV V viFrom Parallel Minor i bIII iv v bVI bVIIUsing Modal Mixture II III VI



SECONDARY DOMINANTS

The primary chords are built without alterations on diatonic scale degrees. There is only one dominantand its function is to point out the tonic chord. If other dominants occur in a progression other thanthe primary dominant, then some chord has been chromatically altered to create the new dominantand this new dominant will point to a key other than tonic. This new key is a secondary key from theoriginal making the dominant chord a secondary dominant. The dominant chord is the most identifi-able indicator in the harmonic progression because it occurs only on the dominant pitch in major andminor. Minor seventh chords that can occur as ii7, iii7, vi7 or iv7 do not point as conclusively.Modulations to the closely related and remote keys are usually accomplished with the use of a sec-ondary dominant.

In the key of C, expect modulations or temporary tonicizations, and look for the dominants of theclosely related keys. If any dominant other than the primary dominant G7 is encountered, it is a sec-ondary dominant pointing away from the primary key and to a secondary key. Look for the dominantspointing to the closely related keys of D, E and A minor and F and G major.

An A7 points to the key of D minor. It cannot be considered a VI chord in the key of C: there is no C#available in the key of C; it must be a secondary dominant. The RNA for this chord is V7/ii. The “V7”defines its relationship to D minor; the “ii” defines the relationship of the secondary key to the homekey of C. This symbol, V7/ii, means “A7 is the dominant (V7) of the D minor, the minor key on thesecond degree (ii) of C major.” It also suggests that individual pitches have been changed. The key of Dminor has to have a C# leading tone in order to create the A7 chord, and a Bb by its key signature defi-nition. These pitches are necessary in order to modulate from C major to D minor and define the dif-ference between the two keys. The chromatically altered pitches want to resolve in the direction in whichthey have been altered. The C# points up to D and the Bb down to A. With D and A as targets, it is easyto see and hear how D minor is temporarily tonicized by the A7.

The dominant for E minor is B7 and is shown with the symbol V7/iii. The key signature for E minor isone sharp plus the leading tone D# needed to create the dominant chord. The F# and D# are the pitchesnecessary to modulate from the key of C to the key of E minor. Both the F# and D# resolve up in the di-rection in which they have been altered to E and G, two primary pitches in the key of E minor.

The dominant for F major, the key of IV, is a C7 chord. This is often erroneously labeled as I7. Therecannot be a dominant chord on a pitch other than the dominant pitch and since there is no Bb in thekey of C, this chord must be the V7/IV. The Bb is the defining difference between the keys of C and Fmajor. The Bb wants to resolve down to the A, the note that defines the major quality in the key of F.

D7 is the V7/V. The F# that is needed to create the D7 chord is the one sharp from the key signature ofG. The Fn in the key of C usually points down to the En. The F# points up to G.

C major and A minor share the same key signature but there must be a leading tone in the key of A mi-nor in order to create a dominant chord. E7 is the V7/vi. The pitch G# distinguishes the keys of C majorand A minor and creates the E7 dominant chord.

The following chart reviews the closely related keys to the key of C major, their secondary dominants,RNA and lists the necessary accidentals needed to tonicize or modulate to the secondary keys.

NEW KEY AREA TO TONICIZE SECONDARY DOMINANT NECESSARY ACCIDENTALS

ii: D minor A7 (V7/ii) Bb and C#iii: E minor B7 (V7/iii) F# and D#IV: F major C7 (V7/IV) BbV: G major D7 (V7/V) F#vi: A minor E7 (V7/vi) G#

Note that all twelve pitches are used in the chart above. The are seven pitches in the C major scale andthe accidentals needed for modulation comprise the remaining five.



Secondary dominants create more forward motion in a harmonic progression. The introduction ofchromatic notes shifts the focus away from the tonic to secondary chords. The secondary chords thenprogress back to the tonic. Some of the basic progressions that were shown before using only chordsfrom one key area can be enhanced using secondary dominants to point to diatonic chords.

A tonic chord can move to any diatonic chord but this progression may be strengthened with theaddition of the secondary dominant. The downward fifth motion and the addition of chromatic pitchestemporarily removes the focus from the original key making the resolution to the diatonic chordstronger.

C A7 Dm7

I V7/ii ii

C B7 Em7

I V7/iii iii

C C7 F

I V7/IV IV

C D7 G

I V7/V V

C E7 Am7

I V7/vi vi

The following progression to the ii7 chord includes just chords from the key of C major:

C Em7 Am7 Dm7

I iii7 vi7 ii7

A secondary dominant can be added to both emphasize the pull away from the tonic and point towardsother chords. A7 as the secondary dominant for D minor can replace Am7. Dm7 is still ii7, it has justbeen tonicized with its dominant. Em7 is still the iii7 chord in the key of C, not the ii7 chord in the keyof D minor. Eø7 is the iiø7 chord in D minor. The basic melodic resources would come from the key ofC major except for the A7 chord. The A7 chord, as the RNA implies, uses the D harmonic minor scale,with C# and Bb being the important distinguishing tones.

C Em7 A7 Dm7

I iii7 V7/ii ii7

The progression to the A could be strengthened by using its dominant instead of the iii7 chord. The E7,V7/vi, points to A minor, but at the resolution, A minor is a dominant chord pointing to the key of Dminor. When the progression arrives at Dm7, it is not actually in the key of D minor, as Dm7 is a ii7chord in the original key of C major. The C and Dm7 chords are still derived from the C major scale,and the notes from that scale can be used as a melodic resource. The E7 is derived from the A har-monic minor scale and would use that scale as a melodic resource.

C E7 A7 Dm7

I V7/vi V7/ii ii7

A7 is V7/ii only in the key of C. D minor may be the ii, iii, vi in major keys, or i and iv in minor keys, soits dominant can also be shown in relationship to other keys. For example, if A7 occurs in a passage inthe key of Bb pointing to the iii7 chord, Dm7, the A7 would be the V7/iii. If A7 occurs in a passage in thekey of F major, then A7 would be V7/vi. In the key of A minor, A7 points to the iv chord and would be



labeled V7/iv. Everything is labeled relative to the tonic key. But in all of those cases, the melodic re-source for the A7 chord is still the D harmonic minor scale.

One of the most common progressions is I - vi7 - ii7 - V7. Secondary dominants are often used to in-crease the level of tension and forward motion. The most common substitution replaces the vi7 chordwith a V7/ii. In the key of Bb, the original progression would be Bb - Gm7 - Cm7 - F7, often returning tothe tonic chord. With the secondary dominant of Cm (G7 = V7/ii) in place of the Gm7, the progressionwould be Bb - G7 - Cm7 - F7. The pull away from the key of Bb is intensified by the G7 chord, as it has aBn and an implied Ab from the C minor key signature. These two notes that changed the key from Bb tothe key of C minor and are often the first notes played by experienced jazz musicians. Below are two ex-amples from improvisations by Charlie Parker. In both of these examples Parker addressed the sec-ondary dominant chords by immediately playing the pitches necessary to modulate or tonicize the sec-ondary key. To tonicize C minor from the key of Bb, a Bn and Ab must be heard, and they are the first twonotes Parker played over the G7 (V7/ii) in the first example. To get from the key of Ab ( four flats) to thekey of ii, Bb minor, two accidentals are needed: the fifth flat (Gb) and the leading tone (An). These werealso the first two pitches played by Parker in the second example. The examples are identical except forthe octave displacement in the first one, which suggests that Parker had practiced these lines in all keys.

6.2 I - V7/ii - ii7 I - V7/ii - ii7

& bb c œ œ œ œ œn œb œ œBb G7

b9jœ ‰

Cm7

& bb b b c œ œ œ œ œn œb œ œAb F7

b9jœ ‰

Bbm7

Clifford Brown played exactly the same melodic figure in ex. 6.3 as Parker did in ex. 6.2. Brown began inG major. To modulate from G (1#) to the key of A minor (0#, 0b), the F# must become Fn, and the leadingtone G# is needed. These were the first pitches sounded by Brown at the E7. Red Garland used manychromatic embellishments and approaches, but at the point of the G7, he played the Bn and Ab calledfor by the secondary dominant below.

6.3 I - V7/ii - ii7 I - V7/ii - ii7

& # c œ œ œ œ œ# œn œ œGmaj7 E7

b9jœ ‰

Am7~

~ & bb c œ œ œ œ# œ œn œ œ# œn œb œ œ# œ œ œn œBb G7

b9 Cm

In this Jimmy Guiffre example, the iii7 chord follows the V7, substituting for the I chord. This keeps theprogression moving in downward fifths from the Em7 to the A7 (iii7 - V7/ii). As in examples above,Guiffre knows the tones necessary for modulation (Bb from the key signature of D minor and the leadingtone, C#) and plays them immediately at the occurrence of the secondary dominant A7.

6.4 ii7 - V7 - iii7 (instead of I) - V7/ii - ii7

& c œ œ œ œ œ œ œ œDm7 G7

œ œ œ œ œ# œb œ œEm7 A7

b9œ œ

Dm7



Since a V7 chord is often preceded by the ii7 or iiø7, secondary ii7 and iiø7 chords may precede sec-ondary dominant chords. The roots of the chords on the top line move in descending thirds. Beforeeach new chord, a secondary dominant may be inserted with its corresponding ii7 or iiø7 chord. Thecadences to Gm7, Ebmaj7 and Cm7 are strengthened by their preceding ii7 - V7 or iiø7 - V7 chords.

Bb Gm7 Ebmaj7 Cm7I vi7 IV vi7

Bb [ Aø7 - D7 ] Gm7 [ Fm7 - Bb7 ] Ebmaj7 [ Dø7 - G7 ] Cm7I iiø7 - V7 vi7 ii7 - V7 IV iiø7 - V7 vi7

vi IV ii

Review what each RNA symbol actually means to the sound. The Aø7 - D7 indicates a temporary modu-lation to the key of G minor with the necessary leading tone F#. The F# is the most important identifyingnote for the D7 chord. The Fm7 - Bb7 indicates a modulation to the key of Eb major and necessitates theaddition of an Ab. The Ab is the most important identifying note for the Fm7 chord, and is the seventhof the Bb7 chord. The Ab resolves down to a Gn, the most important identifying note for the Eb majorchord. The Dø7 - G7 indicates a modulation to the key of C minor, which demands an Ab and a Bn. TheBn is the most important identifying note for the G7 chord which points to C minor. RNA can help iden-tify the most important tones that indicate the harmonic direction. If those tones are emphasized formelodic direction, then linear harmony, lines with strong harmonic implications, will be the result.

In the following progression of roots moving upward in seconds, three possible sets of secondarychords are shown. All are possible and often occur interchangeably in jazz performances. The D7, F#°7,or Aø7 - D7 indicate the key change from F major to G minor, requiring an F# and an Eb. The E7, G#°7,or Bø7 - E7 chords indicate a key change to A minor, requiring an G# and an Bn. Notice how importantthose pitches are to the identification of the corresponding chords.

F Gm7 Am7I ii7 iii7

F D7 Gm7 E7 Am7I V7/ii ii7 V7/iii iii7

F F#°7 Gm7 G#°7 Am7I vii°7/ii ii7 vii°7/iii iii7

F Aø7 - D7 Gm7 Bø7 - E7 Am7I iiø7 V7 ii7 iiø7 V7 iii7

ii iii

The very simple progression shown below moves down in diatonic seconds and can be altered usingsecondary dominants.

6.5 Diatonic chords

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c

˙ ˙Fmaj7 Em7

IV iii7

˙ ˙

˙ ˙Dm7 Cmaj7

ii7 I

˙ ˙



Preceding each diatonic chord with its dominant adds momentum to this progression. The root pro-gression is made stronger moving down in fifths than in seconds.

6.6 With added secondary dominants

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œœœ œœœ# œœœn œœœb#Fmaj7 B7 Em7 A7

IV V7/iii iii7 V7/ii

œ œ œ œ

œœœn œœœ ˙Dm7 G7 Cmaj7

ii7 V7 I

œ œ ˙

The progression initially began on the diatonic IV chord. By substituting the F#ø7, a secondary iiø7chord from the key of Em, all the root movement is by descending perfect fifths. The G7 chord is bor-rowed from the parallel key C minor which yields the Ab, the b9 of G7.

6.7 With added secondary dominants

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œœœ œœœ# œœœn œœœb#F#ø7 B7 Em7 A7

iiø7/iii V7/iii iii7 V7/ii

œ# œ œ œ

œœœn œœœb ˙Dm7 G7 Cmaj7

ii7 V7/i I

œ œ ˙

There are many tunes that stay within one key signature for almost the entire form. The contrast betweenthe two keys, major and relative minor, and their corresponding progressions provides enough interest-ing diversions. The following progression, shown in the key of no sharps or flats, is found in thousandsof compositions from the Baroque era to current popular music and has been used by several jazzcomposers from Antonio Carlos Jobim to Chick Corea.

Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7

Is this passage in the key of C major or A minor? The first few measures sound like the key of C major.The key of A minor is not heard or anticipated until at least the Bø7 chord. While the Bø7 chord is theviiø7 of C, it is more often heard as the iiø7 in minor. The E7 definitely points the progression to A mi-nor. Is it in the key of C (I) and then modulates to A minor (vi), or in the key of A minor (i) and modu-lates from the Dm7 chord (iv7) to the relative key of C (I/bIII) and back again to A minor. How this isanalyzed may depend on the larger context. Initially, most would hear the Dm7 as the ii7 in the key of Cmajor, and not expect A minor until the more definitive pointers Bø7 and E7. Here is one analysis withthe progression based in C major. The E7 is shown as the secondary dominant to A minor. It is possibleto tonicize the Dm7 (ii7) with its dominant so that an A7 chord is inserted after the Am7 and before re-peating the progression.

Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7

ii7 V7 I IV iiø7/vi V7/vi vi7



The progression could be analyzed relating to the key of A minor. The major area is so strong that itfeels less like a departure than the A minor area. Note that ending the progression with an A minorchord without a seventh makes it feel more like A minor is the ultimate destination of the progression.When it ends with an Am7, the Am7 feels like a vi7 chord even when preceded by its dominant, E7.

Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Amiv7 V7/bIII I/bIII bVI iiø7 V7 i

Could the G be labeled bVII and the C bIII in the key of A minor? These would be diatonic chords de-rived from A natural minor. Remember that minor harmony is derived from the harmonic minorscales in order to get the leading tone G#. G7 to C so convincingly suggests C as tonic that it is almostimpossible to hear these chords as related to A minor.

Here is another progression with roots descending in downward fifths. Even though the following pro-gression starts with an Am7, it sounds more like a progression in the key of C major starting on the vi7.

Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7

vi7 ii7 V7 I IV iiø7/vi V7/vi vi7

These two cycles will help aural recognition of the secondary dominant related to diatonic chords.Practice them at a keyboard in this key and others.

Secondary Dominant Cycle No. 1: DEVELOPING AURAL HARMONIC RECOGNITIONDescending diatonic chords with secondary dominants:I - V7/vi - vi - V7/V - V - V7/IV - IV - V7/iii - iii - V7/ii - ii - V7 - I

Play at the keyboard:

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c

œœœœ œœœœ# œœœœn œœœœ#

œ œ œ# œ œ œ#

œœœœ œœœœb œœœœ œœœœ##œ œ œ œ œ œ#

œœœœ œœœœ# œœœœn œœœœœ œ œ# œ œ œ

wwwww

Secondary Dominant Cycle No. 1: DEVELOPING AURAL MELODIC RECOGNITIONDescending diatonic chords with secondary dominants:I - V7/vi - vi - V7/V - V - V7/IV - IV - V7/iii - iii - V7/ii - ii - V7 - I

Play the lower part on the keyboard and sing the upper part to master hearing the identifyingtones necessary for tonicization:

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c

œœ œ œ œ# œ œ œ œ œ œ œn œ# œ œ œœœœœ œœ œœ

œ œ œ œ œœ œ œb œ œ œ œ œ# œ œn œ

œœ œœb œœ œœ

œ œ œ œ œ# œb œ œ œ œ œ œn œ œ œ œœœ œœ œœ œœ

www



Secondary Dominant Cycle No. 2: DEVELOPING AURAL HARMONIC RECOGNITIONAscending diatonic chords with secondary dominants:I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I

Play at the keyboard

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c

c

œœœœœœ œœœ œœœ

œœœ# œœœœ œ# œ œ#

œœœœœœ œœœb œœœ

œœœ œœœœ œ œ œ#

œœœœœœ œœœ œœœ œœœ œœœ

œ œ# œ œ#

œœœ œœœ œœœ ˙œ œ ˙

Secondary Dominant Cycle No. 2: DEVELOPING MELODIC RECOGNITIONAscending diatonic chords with secondary dominants:I - V7/ii - ii - V7/iii - iii - V7/IV - IV - V7/V - V - V7/vi - vi - V7/V - V - V7 - I

Play the lower part on the keyboard and sing the upper part to master hearing the identifyingtones necessary for tonicization:

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c

.œ œ œ# œb œ œ .œ œ œ# œ œn œ

œœ œœ œœ œœ

œ œ œ œ œb .œ œ œ# œ œ œœœ œœb œœ œœ

.œ œ œ# œ œ œ œ œ œ œn œ# œ œ œœœ œœ œœ œœ

œ œ œ œ ˙œœ œœ ˙

It is useful to fill out a chart for each of the thirteen major keys (including F3 and Gb) like the one shownbelow for the key of C. The charts will reinforce the memorization of secondary dominant relationships,the necessary accidentals for modulations, and the proper chord spelling.

HOME KEY: C major PRIMARY KEY SIGNATURE: No #s or bsNEW KEY AREA TO

TONICIZESECONDARYSUPERTONIC

SECONDARYDOMINANT

NECESSARYACCIDENTALS

ii: D minor (1b) Eø7 (iiø7/ii) A7 (V7/ii) Bb and (LT) C#iii: E minor (1#) F#ø7 (iiø7/iii) B7 (V7/iii) F# and (LT) D#IV: F major (1b) Gm7 (ii7/IV) C7 (V7/IV) BbV: G major (1#) Am7 (ii7/V) D7 (V7/V) F#

vi: A minor Bø7 (iiø7/vi) E7 (V7/vi) (LT) G#



DECEPTIVE RESOLUTIONS

The definition of functional harmony submits that dominant chords point towards tonic and that otherchords progress to particular places that ultimately lead back to tonic. Composers use the natural ten-dencies of these harmonic progressions to manipulate a listener’s expectations. It is important to under-stand that while certain chords point clearly to a specific chord, in musical situations, they do not al-ways resolve as expected. If each chord always resolved as expected, music would be unbearably boring.On the other hand, if these chords were not expected to resolve certain ways, and if listeners universallydid not anticipate these resolutions, then the deceptive resolutions would have little emotional or dra-matic impact on the music. Fortunately for composers, listeners do react to the unexpected, which im-plies they do listen and listen with certain expectations. Deception is the device that comedians, magi-cians, storytellers and musicians count on to work their craft. For a joke to work, a certain possibility isanticipated, and then a surprise turn triggers the laugh. The magician with one hand draws your atten-tion away then pulls the coin out of your ear with his other hand. The playwright uses our sense of ex-pectation to elicit a response to a unexpected dramatic turn. The fact that deceptive resolutions are ef-fective in music is proof of the functional harmony system. If the deceptions did not surprise to a de-gree, then the listeners had no expectations.

Try this on a group of students of any age. Play the first measure and stop before resolving to the tonicchord. Everyone, musicians with training and even those without, anticipate the tonic chord. Play thesecond or third example when the G chord resolves to the A minor or Ab major and the reaction will belaughs and raised eyebrows. No one is reacting because from years of music theory study, reacting tosome technical concept. They are reacting instinctively to the unexpected resolutions, proving that whatwas expected was the tonic chord.

6.8a. Expected Resolution b. Unexpected c. More Unexpected

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œœœ œ œ œ œœœ œ œ œœœIV V˙ ˙

wwwI

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œœœ œ œ œ œœœ œ œ œœœIV V˙ ˙

wwwviw

œœœ œ œ œ œœœ œ œ œœœIV V˙ ˙ b

wwwbbVIwb

All would agree that the G chord is a V chord in the first example above as it functions properly resolv-ing to the I chord. Is it still the V chord when it resolves to the vi or the bVI chords? A V chord meansthat it points in a specific direction, it does not insist on a particular resolution. In all three cases theexpectation was for the V chord to resolve to I: that is what makes it a V chord. In the two cases wherethe V chord resolved unexpectedly, the surprise is precisely because the G chord is the V of C and isexpected to resolve accordingly. Route 66 winds from Chicago to LA, but one could stop or turn offanywhere along the road (Flagstaff, Arizona, don’t forget Winona), without changing the fact that Route66 still points from Chicago to LA. Chords function to point to specific tonic chords whether they actu-ally arrive where expected. (I often call this the “Route 66” principle.)

In the following progression the G7 (V7 of C) resolves to Em7 once and to C later. G7 is the V7 in bothinstances. The resolution to Em7 is not a very deceptive resolution as Em7 can be a substitute for C orfor C/E in first inversion.

| C Am7 | Dm7 G7 | Em7* Am7 | Dm7 G7 | CV7 iii7 V7 I



DOMINANT SEVENTH CHORDS & DECEPTIVE RESOLUTIONS

The most common deceptive resolution is V7 resolving to vi (a.). This element of surprise has been di-minished because these deceptive resolutions have occurred with such frequency for the last few hun-dred years. No one will hear these and be shocked. The deception is relative, but the terms and conceptsare useful. The deceptive resolution is the same in the parallel minor (b.). A V7 in a major key is also ef-fective in the deceptive resolution to bVI of the parallel minor key.

a. b. c.Dm7 G7 Am7 Dø7 G7 Abmaj7 Dm7 G7 Abmaj7ii7 V7 vi7 ii7 V7 bVI ii7 V7 bVI

DIMINISHED SEVENTH CHORDS & DECEPTIVE RESOLUTIONS

Diminished seventh chords are the most often misunderstood and misspelled. Since they are related tothe dominant chords, they are often involved in deceptive resolutions. Diminished seventh chords canonly be found within the major/minor system as the vii°7 in minor. The classification of a vii°7, just likethe V7 chord and Route 66, does not change because of an irregular resolution. Diminished seventhchords that resolve deceptively often get mislabeled and cause much confusion, but chords still func-tion, as the V7 chords function above, even when resolving deceptively.

Diminished seventh chords sound and function as V7 chords in first inversion. The common deceptiveresolution in minor is V7 - bVI. Dominant seventh chords are often found in first inversion with thethird in the bass. The V7 in first inversion is often replaced by the vii°7 chord which creates the vii°7 -bVI deceptive resolution. Listen in ex. 6.9 how the vii°7 resolves to i (G#°7 - Am) and then listen to thevii°7 - bVI deceptive resolution (G#°7 - F). This diminished chord is one of the most misspelled chords. Itis often labeled Ab°7. This of course is an enharmonic spelling of the same pitches, yet it makes nosense. If a diminished chord is from the seventh degree of a minor key, then Ab is the seventh degree ofBbb minor, which is the key of twelve flats! The key of no sharps and flats is clearly preferable.

The vii°7, i, and bVI chord may occur in other inversions. In ex. 6.10 the vii°7 chord is shown resolvingto the i with both chords in first inversion. The second measure shows the vii°7 chord in first inversionresolving to the bVI chord in second inversion. The vii°7 chord is still spelled G#-B-D-F, as it should bein the key of A minor. When used in inversions, it is often misspelled. The G#°7/B below is often spelledB°7 rather than G#°7. A pianist reading the B°7 may play the same enharmonic notes, but the misla-beled chord confuses the function. A B°7 is the vii°7 of C minor which has nothing to do with theseprogressions in the key of A minor.

The G#°7 chord in ex. 6.11 is often labeled F°7. Because of the bass note, it may be a convenient but in-correct label. F°7 is the vii°7 of Gb minor, the key of nine flats; a long way from A minor.

6.9 6.10 6.11

vii°7 - i vii°7 - bVI6 vii°65 - i

6 vii°65 - bVI

64 vii°

65 - i

64 vii°

65 - bVI

& ˙# ˙ ˙# ˙ ˙˙# ˙ ˙˙# ˙ ˙˙# ˙ ˙˙# ˙

Why is it important to name and spell the chords correctly? Ab°7, B°7, D°7, F°7 or G#°7 may sound thesound the same, but will have completely different implications. Each of the G#°7 chords in ex. 6.9-6.11are derived from the same scale (A harmonic minor), and spelling the chord correctly as a G#°7 makes



it easier to comprehend. Any other spelling invites confusion. It takes no more effort and time to cor-rectly label a chord and it saves time on the interpretation of its function. However, be prepared to seeany number of enharmonic spellings in published and unpublished music.

The key of bVI is a closely related key in minor. A progression in A minor may move to the key of Fusing the secondary ii7 and V7 chords. A minor may be tonicized by it own dominant.

Am E7 Am Gm7 C7 Fi V7 i ii7 V7 IbVI

It is easy to see that E7 is the V7 of Am in the example above. Confusion arises when the E7 progressesdirectly to the G minor (ii7/bVI). How can it be the V7 of Am if it does not resolve to A minor? It is thesame with all deceptive resolutions, it illustrates the “Route 66” principle in action. Even more confusionis produced when the vii°7 (G#°7) chord is used in the place of the V7 chord. The bass line from A tothe G# to the G is very smooth. The principle of chromatics suggests the bass line should be written A -Ab - G, and this is the reason this diminished chord is often spelled Ab°7. But no matter the enharmonicspelling, the function of the diminished chord remains vii°7 of A minor. Some call this a passing dimin-ished, and it does pass between the A minor and G minor chords, but it is vii°7 of A minor in both thefirst and third measure of ex. 6.12 below.

6.12

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œœœ œœœ œœœ œœœ#i vii°7 i V7œ œ# œ œ

wwwi

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œœœ œœœ œœœb œœœi vii°7 ii7/bVI V7/bVIœ œ# œn œ

wwwI/bVI

wIf these diminished seventh chords and their deceptive resolutions were isolated instances or alwaysconfined to small rhythmic units, understanding their function would be less important. These dimin-ished chords last for several beats in many settings and an improviser must understand their function inorder to effectively create melodies over the harmonic passages. If the diminished chord lasts for twoentire measures, it cannot be ignored. A strategy should be available for addressing these diminishedchords. Labeling the chords “passing diminished” offers nothing in the way of melodic resources fordealing with the progression. Consider the following progression from a standard jazz bossa nova. Thefirst version is how it appears in many printed versions. The Ab°7 and the F°7 spellings reflect the basslines, but how and what should be played over the chords? Some have explained the Ab°7 is a passingchord and that the F°7 is really just non-harmonic tones that resolve to the F major chord. Both as-sessments are correct and yet neither offer a strategy for playing through the passage. The second pas-sage spells both diminished chords as G#°7 which facilitates the understanding of its function in bothplaces as the vii°7 of A minor. It functions as vii°7 in both places even though resolving deceptively. Ifthe diminished chords are both derived from the A harmonic minor scale, then the A harmonic minorscale is a source for melodic material.

6.13a Typical printed version:

Am7 ‘ Ab°7 Gm7 C7 F°7 Fmaj7

6.13b Accurate spellings indicate function:

Am7 ‘ G#°7 Gm7 C7 G#°7/F Fmaj7



Transposing this progression to other keys may make it easier to understand. In Cm, which would yourather see: Cm - Cb°7 - Bbm7 or Cm - B°7 - Bbm7? The B°7 is related to the Cm and not to the Bbm7chord that follows, just as the G#°7 is related to the Am.

6.13c Transposed to Cm:

Cm7 ‘ B°7 Bbm7 Eb7 B°7/Ab Abmaj7

A vii°7 chord is useful as a secondary leading tone chord to modulate from I to the key of iii. In G, thatwould be an A#°7 pointing to B minor. In ex. 6.14a, the A#°7 resolves deceptively back to the G. Thismeans the A# and C# act as leading tones or lower neighbor tones to the pitches from the G triad: B andD. The A#°7 chord could have easily resolved to a B minor chord. This resolution is exactly the samekind as seen in sixth measure of ex. 6.13a-c. Chord symbols for this passage might have read G°7 - G,which would have been incorrect and misleading. A similar example of non-harmonic tones creating adeceptive diminished chord resolving to I is often used in the beginning to Misty. It could be arguedthat these chords are not actually deceptive in that many would not expect them to resolve in these con-texts to the minor key from which these chords were derived. But understanding their relationship to theharmonic minor source is important for identifying melodic material.

6.14 a b.Mozart: Piano Sonata, K. 545, Andante Popular Cadence

&

?

42

42

œ# œ œ œ#

œ œ# œ# œ

œ œ œ œ œœ œ œ œ Rœ

&

?

Ó œœœ œœœ##Ó ˙

˙### ˙w

Consider the enharmonic spellings carefully when labeling diminished chords. It may be sensible to la-bel certain chords dictated by the logic of the bass line, but this also may cause confusion. Diminishedchords often occur that are misspelled vii°7 chords. Determining the functional relationship of the en-harmonically spelled diminished chords will unlock melodic resources.

The following harmonic passage is found in many jazz standards. The Eb°7 spelling correctly reflects thedownward chromatic root movement and the internal line (G - Gb - F), but offers no clue to availablemelodic resources. Spelling it as a vii°7 in the key of E minor suggests the E harmonic minor scale as amelodic resource. How can it be vii°7/iii if there is no E minor around? The D#°7 is derived from the Eharmonic minor scale regardless of the resolution.

6.15Typical incorrect spelling Correct spelling indicates function

I6 ? ? ? ii7 I6 vii°7/iii ii7

&

? c

wwwC/E

ww

wwwbEb°7

wwb

wwwDm7

ww

wwwC/E

ww

www#D#°7

ww#

wwwnDm7

wwn



The diminished chord in the second measure of ex. 6.15 can be proven to be the vii°7/iii by examiningit in context from different perspectives. Take the chord tones (D# - F# - A - C) and add the Bn found inthe melody. These together suggests a B7 in first inversion. If it were notated as a B7 it is doubtful any-one would question it being the V7 of E minor. The five pitches suggested by the melody and the chordsymbol are two notes short of a scale: B - C - D# - ? - F# - ? - A. What kind of an E and G would fit withthe given five notes? Examining the surrounding chords leaves no doubt they should be E and Gn. Theresulting scale? B - C - D# - E - F# - G - A, all the notes of E harmonic minor.

The vii°7/iii chord may follow or precede the iii chord. When it follows the iii7 chord it may decep-tively resolve to the ii7 chord in progressions like the following: In the first progression, the D#°7 seemsto clearly be the vii°7/iii as it resolves up to the Em7 chord. When ascending the D#°7 is the vii°7/iii, soit is rational to conclude that it is the same chord when descending, regardless of its resolution. If a G7that resolves deceptively to Am is still the V7 of C, then a D#°7 can be the vii°7/iii even when resolvingto Dm7.

6.16a D#°7 (vii°7/iii) with typical and deceptive resolutions:

Cmaj7 Dm7 – D#°7 Em7 – D#°7 Dm7 – G7 Cmaj7

I ii7 – vii°7/iii iii7 – vii°7/iii ii7 – V7 I

6.17b D#°7 (vii°7/iii) with deceptive resolutions:

Cmaj7 – Dm7 Em7 – D#°7 Dm7 – G7 Cmaj7

I – ii7 iii7 – vii°7/iii ii7 – V7 I

The vii°7/iii is used in place of the V7 chord in this progression, but it is not the V7 of I. When the ii7 -V7 points back to the I chord and the iii7 chord is used in its place, the iii7 chord can then be precededby its dominant or dominant substitute. E7 (V7/iii) is the dominant of Am7 and G#°7 (vii°7/ii)i is adominant substitute.

6.18

Fmaj7 Gm7 – C7 Am7 OR Fmaj7 Gm7 – G#°7 Am7

I ii7 – V7 iii7 I ii7 – vii°7/iii iii7

This imposition of a vii°7/iii can be used whether or not the progression actually goes to the iii7 chord.In this excerpt from a Charlie Parker improvisation, the G#°7 was used to progress to the I chord and notthe iii7 chord. Is it a vii°7/iii? If it is, then the notes necessary for modulation or tonicization would bethe Bn to change the key signature to no sharps or flats, and the leading tone G#. Parker plays those nec-essary tones clearly and unambiguously.

6.19

& b œ œ œ œ œ œ œ œF

œ œ œ œ œ# œn œ œGm7 G#°7

œ œ Œ ÓF



VALUE & LIMITS of ROMAN NUMERAL ANALYSIS (RNA)

RNA should identify what is heard. It is not an abstract theoretical concept, but a tool explaining what isexperienced musically. As with all tools, there are limits to their use. A hammer is inefficient with ascrew and a screw driver will not drive a nail. Resist the temptation to force square pegs into roundholes. RNA is useful when analyzing music within the major/minor system. When chords are arrangedwithin functional harmony, i.e., harmony that functions to point to a tonic chord or pitch, then the RNAidentifies the key signatures and the basic melodic materials. RNA proves useful for a large body of mu-sic including most of the jazz standards.

There is also a large body of music that was not conceived with functional harmony, and so RNA is thewrong tool for analysis. If a composer has deliberately used harmony to obscure the sense of a tonalcenter, then a system designed to describe how chords function to point to a tonal center will be of nouse. There are some compositions where there is a mixture of approaches: a section of the piece willhave no relation to functional harmony relying on color harmony or modes, followed by a sectionwhere the harmony is quite traditional using ii7 - V7 progressions. To dissect this music, two or moreanalytical tools may be needed. The first section of the book is concerned with establishing an under-standing of the major/minor system which is used as a foundation for so much of the literature per-formed by jazz artists. With the foundation established, the exceptions, additions and departures studiedin the second part of the book will make more sense.

Chords can also be built on many different scales and modes, and can be built using a wide variety andmixture of intervals. These chords can be used to create music, but they are not necessarily functioningin the major/minor system of which RNA is designed to define. Some of these other sounds will be ex-plored in later chapters.

RNA is not just labeling each chord with a Roman numeral. This imparts no helpful information. If thepoint is to label the chords, then use chord symbols. RNA is more useful in the practice room than onthe bandstand. When Roman numerals are used correctly, they identify all the important pitches thatimply the harmonic motion that may be used for melodic material. Used incorrectly, they are just num-bers. If part of a progression includes chords from other keys, then modulation or tonicization has oc-curred and the RNA should identify those new keys and the pitches necessary for modulation. Thepitches necessary for modulation are the most important source for harmonic specific melodies.

A progression like the one below cannot be in one key, because there is not one key that contains allthese chords. This example shows an incorrect use of Roman numerals. There cannot be F#ø7, B7 or A7chords built using tones from the C major scale. The numbers reflect the proper intervals related to thetonic pitch, but are erroneous and misleading. The symbol “#ivø7” indicates that the half-diminishedchord is from the raised fourth of C major. There is no raised fourth in C major! The “VII7” symbolsuggests there is a D# and a F# in the key of C, and the “VI7” is suggests the impossible C# in the key of C.The symbols, if used correctly, should identify the keys. This progression cannot be from one key.

6.20 Incorrect RNA:

Cmaj7 F#ø7 – B7 Em7 – A7 Dm7 – G7 Cmaj7

I #ivø7 – VII7 iii7 – VI7 ii7 – V7 I

The symbols below disclose more useful information. The F#ø7 - B7 is identified as being from the keyof iii, E minor. D# and a F# then can be identified as the necessary tones needed to clarify this part ofthe progression. Knowing that the A7 chord is not just a dominant chord built on the sixth degree of theC major scale, but is the dominant of D minor, the key of ii, yields the necessary pitches C#, the leadingtone, and Bb from the key signature.



6.21 Correct RNA:

Cmaj7 F#ø7 – B7 Em7 – A7 Dm7 – G7 Cmaj7

I iiø7 – V7iii

iii7 – V7/ii ii7 – V7 I

RNA is a tool used to explain the aural experience of harmony. Anyone listening to the progressionabove would know, upon hearing the F#ø7, B7 and A7 chords, that the key of C had been left behind.Leaving the home key is what makes the music interesting, and listeners respond accordingly. RNA canfacilitate the understanding of these harmonic diversions. The most important part of understanding isbeing able to hear these progressions, the pitches that determine the tonic key and the pitches that cre-ate modulations to remote keys.

DOMINANT CHORD EXCEPTIONS

In the discussion of chord types and function, dominant chords were found only on the dominant pitchof major or minor keys. They functioned to point down a fifth to those tonic chords regardless of actualresolution. There are three other types of chords that will be encountered in jazz that sound like domi-nant chords but do not function as a V7 in major or minor. A tritone substitution dominant chord isthe substitution of a dominant chord a tritone away from the actual dominant which resolves down ahalf step in either major or minor keys. A chord which sounds like and is labeled a dominant seventhchord built on the flatted sixth degree in minor and resolves to the dominant chord is related to thetraditional augmented sixth chord. A backdoor dominant deceptively resolves up a whole step to ma-jor keys and is related to a plagal cadence.

TRITONE SUBSTITUTION

The dissonant augmented fourth interval between the fourth and seventh scale tones of a major or aharmonic minor scale is called a tritone (from the three whole steps between the pitches). The tritone isthe major third and minor seventh of the dominant chord, and the active tones of the chord. The tri-tone dissonance wants to resolve in contrary stepwise motion. At (a), the B pulls up to the tonic pitch Cand the F resolves down to the major or minor third.

6.22 (a) The tritone resolves in contrary stepwise motion:

&?

˙ ˙G7 C

˙ ˙

˙ ˙bG7 Cm

˙ ˙

Two dominant chords a tritone apart share the same tritone (b). A G7 and a Db7 have the same thirdand seventh, although inverted and with an enharmonic spelling. The F is the third of Db7 and the sev-enth of G7; the Bn is the third of G7 and Cb is the seventh of Db7. If the Cb is spelled as a Bn, an intervalof an augmented sixth in created between the Db and the Bn. In jazz chord notation practice, this chordis labeled a dominant seventh, as it sounds, rather than an augmented sixth chord as it may be spelled.Since these two dominants share the same tritone, and the tritone still wants to resolve in contrary step-wise motion, the Db7 chord can substitute for the G7 chord.



6.22 (b) G7 and a Db7 share the same tritone.

&?

˙ ˙b ˙G7 Db7 Db7

3

7 3

7

˙ ˙b ˙bA6

˙ ˙Db7 C

˙b ˙

˙ ˙bDb7 Cm

˙b ˙

Any dominant chord may be replaced in a progression by the dominant chord a tritone away if its res-olution is down a half step to the tonic chord. (It is not used in the progression where the dominantmoves to chords other than tonic). This is called tritone substitution.

6.22 (c) Tritone Substitution: Db7 may substitute for the G7

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˙ ˙Dm7 G7

˙ ˙

wwC

w

˙ ˙Dm7 Db7

˙ ˙b

wwC

w

The tritone substitute dominant chord will often contain the actual dominant pitch. The dominant pitchis critical in melodies as it helps extablish the tonality and its occurrence over the tritone substitutedominant supports this melodic function. The inclusion of the dominant tone in a tritone substitutedominant explains why it does not sound or function like a typical dominant. The tritone substitutedominant does not want to resolve down a perfect fifth. The Db7 in the example below contains thepitch “G,” which confirms its identity as the tritone substitute for the G7 chord. It is doubtful that anyonelistening to the passage would expect the Db7 to resolve to Gb major. It could be argued that the Db7chord is actually an inverted G7 chord evidenced by the enharmonic spelling: G - B - Db - F.

6.23 Tritone substitute dominants that contain the dominant pitch:

&?œœ œœ# œœœn œœœ

Em7 A7 Dm7 G7

œ œ œ œ

wwwCmaj7

w

œœ œœb œœœ œœœEm7 Eb7 Dm7 Db7

œ œb œ œb A4

wwwCmaj7

w

There is no traditional agreed upon RNA notation for a tritone substitution. There are symbols foraugmented sixth chords, but tritone substitute dominants do not behave as augmented sixth chords.Augmented sixth chords commonly substitute for a ii7 or a IV chord and resolve to a dominant chordso using the augmented sixth chord symbols here would be misleading. For the purposes of this book,the symbol “TT7” will be used to indicate a tritone substitute dominant chord. The two progressions at(c) above would then be: ii7 - V7 - I, and ii7 - TT7 - I.



Knowing that dominant chords a tritone apart function in similar ways complicates the harmonicanalysis process by only a small degree. Until now in this discussion, a dominant chord was always a V7pointing down a fifth to a tonic chord. Dominant chords substituting for V7 point down a half step tothe chord of resolution. It will be easy to determine the type of dominant by examining the context.

SECONDARY DOMINANTS & TRITONE SUBSTITUTION

A piece of music may modulate to closely related keys using secondary dominants. Any dominantchord may have a tritone substitution. The tritone substitution chord is usually spelled in the easiest toread enharmonic form, commonly avoiding chords like Fb7 and Bbb7. An example from the key of Cmajor is shown below.

TONIC KEY SECONDARYDOMINANT

TRITONESUBSTITUTEDOMINANT

NEW KEY

C A7 Eb7 D minorC B7 F7 E minorC C7 Gb7 F majorC D7 Ab7 G majorC E7 Bb7 A minor

Learn to recognize dominant chord paired with their tritone substitute chord and the home key to whichthey point.

DOMINANT CHORD

(V7)

TRITONE SUBSTITUTEDOMINANT

(TT7)

TONIC KEY

(I or i)

G7 Db7 C major & C minorC7 Gb7 F major & F minorF7 B7 Bb major & Bb minorBb7 E7 Eb major & Eb minorEb7 A7 Ab majorD#7 A7 G# minorAb7 D7 Db majorG#7 D7 C# minorDb7 G7 Gb majorC#7 G7 F# major & F# minorF#7 C7 B major & B minorB7 F7 E major & E minorE7 Bb7 A major & A minorA7 Eb7 D major & D minorD7 Ab7 G major & G minor

TRADITIONAL AUGMENTED SIXTH CHORDS

Good music theory should always describe the way the music sounds. One exception in traditionalmusic theory is the augmented sixth chord. It sounds like a dominant seventh but is labeled a sixthchord because its spelling includes the interval of an augmented sixth. Adding to the confusion is thatthree geographical labels are often attached to these chords. The augmented sixth chord is usuallyfound in first inversion.



Historically, the entire concept of harmony came about as a result of melodic lines. The convergence oflinear materials evolved into the recognition of certain vertical sonorities, chords and finally harmonicprogressions. As certain sonorities occurred with more frequency, they became easier and necessary toname. The dominant seventh was not considered a chord at one time, but the voice leadingcircumstance of a dissonant passing tone (seventh) resolving to the third of the subsequent tonic triad.As composers used the chord with more frequency and for longer durations, the vertical sonoritybecame the dominant seventh chord. Similar histories are true for most chords including theaugmented sixth chord. The augmented sixth chord was originally considered a circumstance ofchromatic voice leading between the IV or iv chords and the V7 chord and not an independent chord.

When the IV chord (a) is in first inversion, the fourth scale degree may move up chromatically while thesixth degree moves chromatically down to the fifth degree, resolving to an octave. The interval betweenthe two chromatic passing tones is an augmented sixth (as shown between the Ab and F#). Though theactual tertian spelling of the chord at (a) is F# - Ab - C, it sounds like an Ab7 chord without the fifth (Ab -C - Gb). This type of augmented sixth chord is commonly labeled the “Italian sixth.” The “French sixth”at (b) is often preceded by a iiø7 chord in second inversion. The fourth scale degree moves through achromatic passing tone to the fifth, creating the augmented sixth interval between the Ab and F#. Thetertian spelling of the chord is D - F# - Ab - C, but with the Ab in the bass, to a jazz musicians, it soundslike an Ab7 chord with a b5 or a #11. The “German sixth” is often preceded by a iv7 chord in firstinversion. The fourth scale degree again progresses through a chromatic passing tone to the fifth,creating the augmented sixth interval. The resulting chord is spelled F# - Ab - C - Eb, but with the Ab in thebass, sounds like an Ab7 chord (Ab - C - Eb - Gb). An augmented sixth chord can occur following itssound-alike dominant seventh chord as in the modulation from C major to E minor shown at (d). The Cmoves to C7, the V7/IV, but with the enharmonic change of the Bb to A#, the chord becomes a “Germansixth” leading to the cadence to E minor. The international labels are meaningless. There are manyexamples in literature where all three of the defining notes are present melodically over the augmentedsixth chord. Example (e) is a virtual “Tour of Europe Sixth” chord.

6.24(a) “Italian Sixth” (b) “French Sixth”

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c

c

b b b

b b b

˙ ˙#

˙ ˙bIV6 A6

A6

˙ ˙n

˙ ˙V V7

wwwI

˙ ˙#˙ ˙iiø

43 A6

A6

˙ ˙n œ œ˙ ˙V64 V7

wwwwi

(a) (b)

(c) “German Sixth” (d) “German sixth”

&

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bb b

b b b

c

c

n n n

n n n

˙ ˙#˙ ˙ A6

˙ ˙n œ œ˙ ˙

wwww

˙ œœb œœ#A6˙

˙œœœœ

˙ ˙#˙˙˙˙#

wwww

(c) (d)



(e) “Tour of Europe Sixth” Chord

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86

86

œ Jœ œb œ œ...œœœb ...œœœ#

.˙

...˙Gr/Fr/It

The augmented sixth chord is relevant to jazz and occurs often in compositions in minor keys. Jazzmusicians, with the chord symbol shorthand notation, label the chord as it sounds, not as it may bespelled in 17th and 18th century part writing. This chord is used in place of other pre-dominant chordslike the IV, iv7, ii7 and iiø7 as any augmented sixth chord. The sound of a dominant chord resolvingdown a half step is related to the half step resolution of the tritone substitute dominant chord which alsohas the augmented sixth interval. The concept of chord symbol notation is to aid musicians in quickreading of the chord symbols. For this reason, this augmented sixth chord and the tritone dominantsubstitute are often identified with the easiest enharmonic spelling, usually avoiding chords like Bbb7 infavor of A7. The traditional notation of “A6” for augmented sixth, or some symbol indicating theinternational names (#ivIt, ii7Fr , #ivGr) are not used by jazz musicians. These symbols would only causeconfusion in a jazz world. The “A6” might be confused with the A triad with an added F#. Since thischord behaves as a tritone substitute dominant resolving down a half step, for analysis the symbol“TT7” will be used for this book. For jazz shorthand chord notation, all of the augmented sixth chordsabove (a-e) would be labeled as they sound: as Ab7 chords.

The augmented sixth chord could have presented simply as a dominant seventh chord that may resolvedown a half step to the dominant chord, but it is important to understand the historical background andrelationship of jazz music styles to those of other eras.

Complete the table below showing the typical pre-dominant - dominant resolving to minor progression.

Augmented6th chord

sounding likea dominantchord on bVI

V7 i

F7 E7 A minor

D minor

G minor

Ab7 G7 C minor

F minor

Bb minor

Eb minor

Augmented6th chord

sounding likea dominantchord on bVI

V7 i

D# minor

G# minor

A7 G#7 C# minor

F# minor

B minor

E minor



BACKDOOR DOMINANTS

A backdoor dominant is a dominant chord that deceptively resolves up a whole step to major keys. It isoften preceded by the IV chord. It may resolve to the iii7 or the I6 chords which often substitute for the Ichord in the middle of a progression.

A plagal cadence occurs when IV resolves to I as in “amen” shown at (a). Another plagal cadence is theprogression iv - I, or IV - iv - I at (b). The natural tendency for roots to descend in fifths suggests thenatural evolution of the IV chord resolving to a chord on the lowered seventh degree at (c) in place ofthe iv chord. This chord then seems to resolve to the I chord from the backdoor.

6.25 Plagal Cadences(a) (b) (c)

&?˙ ˙F C

IV I˙ ˙

œœœ œœœb ˙F Fm C

IV iv I˙ ˙

œœœ œœœœb ˙˙˙F Bb9 Cmaj7

œ œb ˙The backdoor dominant chord may also contain the interval of an augmented fourth above the root.The major seventh of the IV chord is often retained in the backdoor dominant and anticipates themajor third of the tonic chord. This note is why the backdoor dominant typically resolves to major andnot minor. The Bb7 shown below will not sound like a V7 in the key of Eb because of the surroundingcontext of C major and the En occurring in the chord. The chords below are shown with more extendedvoicings. The F chord includes the major seventh and ninth. The Bb7 chord includes the 9 - #11 - 13. The9 - #11 - 13 (C - E - G) of the Bb7 chord are the primary pitches of the upcoming tonic chord “C.” Forthe purposes of this book, the symbol “BD7” will refer to this type of dominant chord. The Bb7 chord inthe second example is not a backdoor dominant. Backdoor dominants point to major keys and notminor keys. In this typical deceptive cadence, the Bb7 would be heard as the V7 or Eb and the Cm7 asvi7.

6.26Backdoor Dominant with Extended Voicings V7 - vi7 Deceptive Cadence

&?

œœœœ œœœœ ˙˙˙Fmaj7 Bb9#11 Cmaj7

œœ

œœbb ˙A4

&?

œœœœb œœœœ ˙˙˙Fm9 Bb13 Cm9

œœb œœb ˙



Simple harmonic passages can be energized by the addition of tritone substitutions and backdoordominants.

6.27Basic step progression: IV - iii7 - ii7 - Imaj7.

&?

wwwFmaj7

w

wwwEm7

w

wwwDm7

w

wwwCmaj7

wIVmaj7 iii7 ii7 Imaj7

A iv7 chord (Fm7) can be borrowed from the parallel minor. The ii7 (Dm7) chord can be preceded byits secondary dominant (A7 = V7/ii) and the tonic chord by the primary dominant (G7 = V7).

6.28

&?

˙ ˙bbFmaj7 Fm7

˙ ˙

˙ ˙b#Em7 A7

˙ ˙

˙ ˙Dm7 G7

˙ ˙

wwwCmaj7

wIVmaj7 iv7 iii7 V7/ii ii7 V7 I maj7

The backdoor dominant (Bb7) can replace the borrowed iv7 chord. This backdoor dominant did notresolve to the I chord, but moves to the substituting iii7 chord. The Eb7 is the tritone substitution for theA7 and the Db7 for the G7.

6.29

&?

˙˙˙ ˙bFmaj7 Bb7

˙ ˙b

˙˙˙ ˙˙bEm7 Eb7

˙ ˙b˙˙ ˙˙

Dm7 Db7

˙ ˙b

wwwCmaj7

wIVmaj7 BD7 iii7 TT7/ii ii7 TT7 I maj7



The addition of these special dominant chords allows for several possible cadences to the tonic majoror minor chord. This is a list of possible chords. Not all pre-dominant chords lead to all dominantchords. The backdoor dominant is usually preceded by the IV or iv7 chord. A partial list ofcombinations follows this chart.

PRE-DOMINANT CHORDS DOMINANT CHORDS TONIC CHORDS

IV V7 I

ii7 viiø7 (rare) i

iiø7 vii°7 I6 or iii as substitute for I

iv7

Augmented 6th chord on bII as

tritone substitute dominant

(TT7)

(sometimes vi7 as deceptive

resolution)

V7/V Backdoor dominant on bVII

as plagal cadence (BD7)

vii°7/vvii°

65/iii

bVImaj7

Augmented 6th chord sounding

like a dominant chord on bVI

PARTIAL LIST of CADENTIAL COMBINATIONS

Diatonic Chords:

Dm7 G7 Cmaj7

ii7 V7 I

Dø7 G7 C m

iiø7 V7 i

With Borrowed iiø7:

Dø7 G7 Cmaj7

iiø7 V7 I

With Tritone Dominant Substitution:

Dm7 Db7 Cmaj7

ii7 TT7 I

Dø7 Db7 C m

iiø7 TT7 i

With Tritone Dominant Substitution& Borrowed iiø7 chord:

Dø7 Db7 Cmaj7

iiø7 TT7 I

Plagal Cadence with Backdoor Dominant:

Fmaj7 Bb7 Cmaj7

IV BD7 I

With Secondary Dominant (V7/V):

D7 G7 Cmaj7

V7/V V7 I

With Secondary Dominant (V7/V)& Tritone Substitution:

D7 Db7 Cmaj7

V7/V TT7 I

With Tritone Dominant Substitutionfor Secondary Dominant:

Ab7 G7 Cmaj7

TT7/V V7 I

Ab7 G7 C m

TT7/V V7 i

With Tritone Dominant Substitutionfor Secondary Dominant & Dominant:

Ab7 Db7 Cmaj7

TT7/V TT7 I

Ab7 Db7 C m

TT7/V TT7 i

Chapter 7 Harmonic Analysis 135


VII. HARMONIC ANALYSIS:

ROMAN NUMERAL ANALYSIS with COMMON JAZZ PROGRESSIONS

Practice identifying key areas using Roman Numeral Analysis in the following progressions. Begin bylabeling the diatonic chords of the primary key. Next, label secondary chords showing their relationshipto those primary diatonic chords. Label the form suggested by each progression (AABA, ABAB1, ABA,Blues, etc.). List the necessary notes for modulation to the secondary keys. How do these notes relate tothe chords? Apply turnaround progressions in the last two measures of the forms when appropriate.Progressions are numbered from a list used with theory classes Titles are not shown due to copyrightlaws.

PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS

Progression no. 1

Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7 A7

Dm7 G7 Cmaj7 A7 Dm7 G7 Fm C E7


Dm7 G7 Eø7 A7 Dm7 G7 C ‘

Progression no. 2

C ‘ E7 ‘ A7 ‘ Dm7 ‘Bø7 E7 Am7 ‘ D7 ‘ Dm7 G7

C ‘ E7 ‘ A7 ‘ Dm7 ‘F Fm Em7 A7 Dm7 G7 C ‘

136 Chapter 7 Harmonic Analysis


Progression no. 5

Bb D7 Eb G7 Cm7 G7 Cm7 F7

Dm7 C#°7 Cm7 F7 Dm7 C#°7 Cm7 F7


Fm7 Bb7 Eb C#°7/E Bb/F G7 Cm7 F7

TURNAROUND TUNES

Progression no. 7

F D7 Gm7 C7 Am7 Dm7 Gm7 C7

F D7 Gm7 C7 Am7 Dm7 Cm7 F7

Bbmaj7 Abm7 - Db7 Gbmaj7 Em7 - A7 Dmaj7 Abm7 - Db7 Gbmaj7 Gm7 - C7

F D7 Gm7 C7 - Bb7 Am7 - D7 Gm7 - C7 F ‘

Progression no. 8

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C - Am7 Dm7 - G7

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C Gm7 - C7

Fmaj7 - E7 A7 - D7 G7 - C7 B7 - E7 Fmaj7 - E7 A7 - D7 G7 - C7 D7 - G7

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C ‘

The harmonic progression from the Gershwin’s I Got Rhythm is used for hundreds of jazz compositionsincluding Oleo, Moose the Mooche, Cottontail, Anthropology and many others, is also based on aturnaround progression. Several versions of the harmonic possibilities for “rhythm changes” will beconsidered in chapter 8.



PROGRESSES TO IV with SECONDARY ii7/IV - V7/IV

Progression no. 9

Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Gm7 - Cm7 Fm7 - Bb7Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Eb - Db7 Eb

Bbm7 Eb7 Abmaj7 Abmaj7 Aø7 D7 Gm7 - Cm7 Fm7 - Bb7Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Eb - Db7 Eb

See also progression no. 10 under remote modulations, p. 140.

PROGRESSES to vi with SECONDARY iiø7/vi - V7/vi

Progression no. 11

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 G7 Gø7 - C7

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 Gm7 - C7 Fmaj7

Cm7 F7 Bbmaj7 Bbmaj7 Ebm7 Ab7 Dbmaj7 Gø7 - C7

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 Gm7 - C7 Fmaj7

Progression no. 12 Blues with “Pretty Chords” or “West Coast” Blues

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Bbmaj7 Bbm7 - Eb7 Am7 - D7 Abm7 - Db7Gm7 C7 F - Dm7 Gm7 - C7

Progression no. 13

Ebmaj7 ‘ Dø7 G7 Cm7 (F7) Bbm7 Eb7Abmaj7 Db7 Ebmaj7 ‘ Cm7 F7 Fm7 Bb7Ebmaj7 ‘ Dø7 G7 Cm7 (F7) Bbm7 Eb7Abmaj7 Db7 Ebmaj7 Aø7 - D7 Ebmaj7 Gø7 - C7 Fm7 - Bb7 Ebmaj7



USES SECONDARY vii°7 CHORDS

Progression no. 14

F - F#°7 Gm7 - G#°7 Am7 - F7 Bbmaj7 - Eb7 Am7 - D7 Gm7 - C7 A7 - D7 G7 - C7

F - F#°7 Gm7 - G#°7 Am7 - F7 Bbmaj7 - Eb7 Am7 - D7 Gm7 - C7 Fmaj7 Bb7 Ebm7 -

Ab7Dbmaj7 -

Bbm7

Ebm7 - Ab7 Fm7 - Bbm7 Ebm7 - Ab7 Dbmaj7 Bbm7 Gm7 C7

F - F#°7 Gm7 - G#°7 Am7 - F7 Bbmaj7 - Eb7 Am7 - D7 Gm7 - C7 Fmaj7 ‘

Progression no. 15

F F#°7 Gm7 G#°7 F Bbmaj7 Aø7 D7

Gm7 Eb7 F Eø7 - A7 Dm7 G7 Gm7 C7

F Aø7 - D7 Gm7 Bø7 - E7 F Bbmaj7 Aø7 D7

Gm7 Eb7 F Am7 - D7 Gm7 C7 F ‘

USES CYCLE of SECONDARY DOMINANTS

Progression no. 16

G7 ‘ ‘ ‘ C7 ‘ ‘ ‘F7 ‘ ‘ ‘ Bb Cm7 - F7 Bb Aø7 - D7

G7 ‘ ‘ ‘ C7 ‘ ‘ D7

Gm Aø7 - D7 Gm Aø7 - D7 Bb G7 C7 - F7 Bb



Progression no. 17

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C - A7

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C - F#ø7-B7

E - C#m7 F#ø7 - B7 G#m7- F‹°7 F#m7 - B7 E - C#m7 F#ø7 - B7 E7 - A7 Dm7 - Ebm7

- Em7 - E b7

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C

Progression no. 18 B SECTION of RHYTHM CHANGES

D7 ‘ G7 ‘ C7 ‘ F7 ‘

CHORDS BORROWED from PARALLEL MINOR

Progression no. 19

Gø7 C7 Fm ‘ Dø7 G7 C ‘Gø7 C7 Fm ‘ Dø7 G7 C ‘Cm7 F7 Bbmaj7 ‘ Ab7 ‘ G7 ‘Gø7 C7 Fm ‘ Dø7 G7 C ‘

Progression no. 20

Gø7 C7 Fmaj7 D7 Gm7 C7 Fmaj7 Fmaj7

Gø7 C7 Fmaj7 Bø7 - E7 Amaj7 Bm7 - E7 Amaj7 C

Gm7 C7 Fmaj7 ‘ Aø7 D7 G7 C7

Gø7 C7 Am7 D7 Gm7 C7 Fmaj7 ‘



TUNES with SIMILAR A SECTIONS

There are several tunes which share the same common A Section. A partial list with their usual keysincludes: Take the “A” Train (C & Ab), O Pato (D), Girl from Ipanema (F & Db), Lucky Southern (D),and Watch What Happens (Eb & F).

Progression no. 21.Common A section

C ‘ D7 ‘ Dm7 G7 C ‘

MODULATES to REMOTE KEYS

Progression no. 22

Bb ‘ Aø7 D7 Gm7 C7 Fm7 Bb7Ebmaj7 ‘ Ebm7 Ab7 Dbmaj7 ‘ C#m7 F#7Bmaj7 ‘ Cø7 F7 Dm7 Db7 Cm7 F7

Progression no. 10

Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘Bbmaj7 ‘ C7 ‘ Cm7 G7 Cm7 F7

Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘C#m7 F#7 Bmaj7 ‘ Bm7 E7 Amaj7 ‘Am7 D7 Gmaj7 ‘ Gm7 C7 Cm7 F7

Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘



Progression no. 23

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Dø7 - G7 Cmaj7 ‘Cm7 Fm7 Bb7 Ebmaj7 Abmaj7 Aø7 - D7 Gmaj7 ‘Am7 D7 Gmaj7 ‘ F#ø7 B7 Emaj7 C7

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Gb7 Ab/C B°7

Bbm7 Eb7 Abmaj7 (Gø7 - C7)

Five Common Tunes: All Twelve Keys

A well prepared jazz musician can play in all twelve keys. These five commonly called jazz tunes requireknowledge of all twelve keys: All the Things You Are (4bs, 0#s or bs, 3bs, 1#, & 4#s), Cherokee (2bs, 3bs, 1b, 5#s,3#s, & 1#), Body & Soul (5bs, 2#s, & 0#s or bs), ‘Round Midnight (6bs, 5bs, 3#s, 4bs, & 4#s) and Joy Spring(1b, 4bs, 6bs, 3#s, 1#, & 3bs).

PROGRESSIONS SHOWN with RNA

PROGRESSIONS that MODULATE to CLOSELY RELATED KEYS

The leading tone of the key of vi (G#) is needed in mm.6-7 and mm.22-23. The leading tone C#, and a Bbare needed to tonicize the key of ii in mm.8, 16, and 27-28. The plagal cadence at m.15 (iv - I) requires atleast an Ab and suggests an Eb for the first two beats. The form is ABAB1 . The first phrase of progressionno. 1 appears again in progression no. 23 in two other keys. It also is found in the Mozart excerpt in ex7.1.

Progression no. 1


vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 V7/ii

Dm7 G7 Cmaj7 A7 Dm7 G7 Fm C E7

ii7 V7 I V7/ii ii7 V7 iv - I V7/vi


vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 V7/ii

Dm7 G7 Eø7 A7 Dm7 G7 C ‘ii7 V7 iiø7/ii V7/ii ii7 V7 I



7.1 Mozart: Piano Sonata, K.545, Allegro

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c

c

≈ œœ œ œ œ œ œ œ Œ

œ Œ ≈œœœœ œœ œ&


œ Œ ≈ œ œ œ œ œ œ œ


œŒ ≈ œ

œ œ œ œ œ œ?

≈œ œ œ œ# œœœœ Œ

œ# Œ ≈œ œ œœ œn œœ ˙vi7 ii7 V7 I IV iiø7/vi V7/vi vi7 ii

The E7 in m.3 of progression no. 2 points to A minor and needs the G# , the leading tone of A minor. Itdoes not resolve to the A minor, but to an A7, the V7 of D minor. The A7 requires a Bb from the keysignature and C# leading tone. The D7 in m.13 is the V7 of G, needing an F#, although it never resolvesto G, instead changes to a minor 7 chord becoming the ii7. The A7 chord in m.28 would normally belabeled V7/ii, which is where it actually resolves. However, the melody note at this point in the piece is aBn, suggesting A7 is the dominant of D major and not D minor. The form is ABAC.

Progression no. 2

C ‘ E7 ‘ A7 ‘ Dm7 ‘I V7/vi (G # ) V7/ii

(Bb , C# )ii7

Bø7 E7 Am7 ‘ D7 ‘ Dm7 G7

iiø7/vi V7/vi (G# ) vi V7/V (F # ) ii7 V7

C ‘ E7 ‘ A7 ‘ Dm7 ‘I V7/vi V7/ii

(Bb , C# )ii7

F Fm Em7 A7 Dm7 G7 C ‘IV iv iii7 V7/II*

(F# , C# )ii7 V7 I

The form for progression no. 5 is ABAB1 .

Progression no. 5 is often misunderstood because of several deceptive resolutions. The D7 in m.2 is theV7/vi even though it resolves up the IV chord. In G minor, the most common deceptive resolution is V -bVI, which is D7 - Ebmaj7. These same two chords occur here, but instead of V - bVI in G minor, it isV7/vi - IV in the relative Bb major. Only one note changes: Fn to F#. With Bb in the melody, the D7 chordis often labeled a D7#5. The A# (#5) and the Bb (b13) are same pitch with an enharmonic spelling, but A#is senseless in the context of G minor or Bb. An augmented fifth wants to resolve up: A# - Bn, but themelody moves down Bb - An, the kind of resolution associated with a b13.

The G7 in m.5 is also often labeled G7#5 because of an Eb in the melody. This contradiction leads toconfusion. Since there is no D# in this context, and there is an Eb, it makes more sense to label the chorda G7b13. The chord functions as the V7 in C minor, and the Eb melody note and the b13 chord designa-tion reflect this.

The C#°7 in m.10 also causes much confusion. Since the bass moves down, the chord is often spelledDb°7. The C# is a better choice than Db since the chord is the secondary leading tone chord in the key ofD minor and calls for a C# and an En. Db°7 would be the leading tone chord in the key of Ebb minor with



a key signature of thirteen flats! Some argue that this chord is a passing diminished chord and does notfunction as a leading tone chord in D minor since it does not resolve to D minor. It does pass betweenDm and Cm, but labeling it a passing diminished gives no information about its harmonic function,necessary alterations, or any suggestions for melodic resources. The functional relationship of C#°7 tothe Dm7 suggests the altered En and C# tones. This is the “Route 66” principle again: a chord may re-solve somewhere other than where it points. A dominant chord usually points to, but may follow a tonicchord. Dm moved to C#°7 just as the Cm moved to its dominant G7 in mm.5-6. The F7 in m.12 is stillthe dominant of Bb even though it resolves to Dm7. An An in the melody further illustrates the relation-ship of the C#°7 to the key of D minor. The notes of the diminished chord added to the melody noteform the notes of an A7b9 chord (A - C# - En - G - Bb). These five notes are two notes shy of a scale, miss-ing only some kind of a D and a F. The logical choices to fill out the scale are Dn and Fn, being in thekey of Bb major and following a D minor chord. Add the notes implied by the melody, the chord sym-bol and the context together and you have the D harmonic minor scale (A - Bb - C# - D - En - F - G - A).

Another deceptive resolution is rarely questioned. No one questions whether F7 is the V7 chord in thekey of Bb major even though in mm. 8-9 and mm. 11-12 the F7 resolves to a Dm7. For some, it is easierto accept deceptive dominant than deceptive diminished resolutions.

The diminished chord in m. 28 is often spelled as E°7. This makes the bass line easy to see, but maycause confusion in the analysis. Recognizing it as C#°7/E, a diminished chord in first inversion, revealsits function as vii°7/iii, a closely related secondary chord. E°7 suggests vii°7/v, and F minor, with fourflats is a very remote key and completely out of context. An E°7 and a C#°7 share the same enharmonicpitches (E-G-Bb-Db/C#) but sound the same only when taken out of context. It is important to rememberthat these chords occur in a musical contexts and must be analyzed accordingly. A C#°7 is the vii°7 ofDm, a closely related key to Bb. The third in the bass puts the vii°7 in first inversion, the most typical set-ting of a vii°7 chord in traditional music.

Learn to recognize the possible functions of diminished chord no matter how they are spelled and nomatter where they resolve. The correct identification identifies the smoothest note choices. Every time adiminished chord is encountered a process of elimination could be applied to determine the logicalmelodic resources. Understanding the value of RNA can save time, realizing that in most cases a dimin-ished chord, whether it occurs as a leading tone resolving traditionally, as a passing diminished, or adiminished resolving deceptively, the chord is derived from the seventh degree of a harmonic minorscale.

Progression no. 5

Bb D7 Ebmaj7 G7 Cm7 G7 Cm7 F7

I V7/vi

(F#)IV V7/ii

(Ab, B n)ii7 V7/ii ii7 V7

Dm7 C#°7 Cm7 F7 Dm7 C#°7 Cm7 F7

iii7 vii°7/iii(En, C#)

ii7 F7 iii7 vii°7/iii ii7 F7


I V7/vi IV V7/ii ii7 V7/ii ii7 V7

Fm7 Bb7 Eb C#°7/E Bb/F G7 Cm7 F7

ii7/IV V7/IV IV vii°7/iii I V7/ii ii7 V7



TURNAROUND TUNES

These tunes are based on the common cycle progression I - vi7 - ii7 - V7, and its most common varia-tion, I - V7/ii - ii7 - V7. This progression is often used at the end of a form to turnaround back to the topof the form. This turnaround progression could be used in the last two measures of progression no. 7 toavoid having eight beats of F then repeating to the top of the form for another F chord. The turnaroundprogression is shown in mm. 31-32. Most of progression no. 7 stays in the key of F utilizing theturnaround chords. The challenge to the progression is the bridge which goes to the close key of IV (Bb),and then to the remote keys of Gb and D. The form is AABA.

Progression no. 7

F D7 Gm7 C7 Am7 Dm7 Gm7 C7

I V7/ii ii7 V7 iii7 vi7 ii7 V7

F D7 Gm7 C7 Am7 Dm7 Cm7 F7

I V7/ii ii7 V7 iii7 vi7 ii7/IV V7/IV

Bbmaj7 Abm7 - Db7 Gbmaj7 Em7 - A7 Dmaj7 Abm7 - Db7 Gbmaj7 Gm7 - C7IV ii7-V7bII I/bII ii7-V7

VII/VI ii7-V7bII I/bII ii7-V7

F D7 Gm7 C7 - Bb7 Am7 - D7 Gm7 - C7 F - (D7 Gm7 - C7)

I V7/ii ii7 V7 TT7/iii iii7 V7ii

ii7 - V7 I - (V7/ii ii7-V7)

Progression no. 8 is the one that every child in America seems to know on the piano and plays with thisaccompaniment.

7.2

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c

c

Œ œœœ œœœ Œ œœœ œœœœ œ Œ œ œ Œ

Œ œœœ œœœŒ œœœ œœœ

œ œ Œ œ œ Œ

‰ jœ œ œ ‰ jœ œ œ

˙ ˙

‰ jœ œ œ

‰ jœ œ œ

˙ ˙Progression no. 8

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C - Am7 Dm7 - G7

I - vi7 ii7 - V7 I - vi7 ii7 - V7 iii7 - vi7 ii7 - V7 I - vi7 ii7 - V7

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C Gm7 - C7

I - vi7 ii7 - V7 I - vi7 ii7 - V7 iii7 - vi7 ii7 - V7 I ii7 - V7IV

Fmaj7 - E7 A7 - D7 G7 - C7 B7 - E7 Fmaj7 - E7 A7 - D7 G7 - C7 D7 - G7IV - V7/vi V7/ii -

V7/VV7 - V7/IV V7/iii -

V7/viIV - V7/vi V7/ii -

V7/VV7 - V7/IV V7/V - V7

C - Am7 Dm7 - G7 C - Am7 Dm7 - G7 Em7 - Am7 Dm7 - G7 C ‘I - vi7 ii7 - V7 I - vi7 ii7 - V7 iii7 - vi7 ii7 - V7 I



Every child knows the melody to the A section of progression no. 8, but few seem to know the bridge.There is an interesting cycle of dominants in the bridge that point to different closely related keys with-out actually getting to those keys. Each dominant resolves to the correct root, but each chord quality ischanged to a dominant which propels the progression forward. There are two descending chromaticlines a tritone apart suggested by this progression.

1. E7 = V7/vi, the G# is required as the leading tone to Am.2. A7 = V7/ii, the C# is the leading tone to D minor.3. D7 = V7/V, the F# is from the key signature of G major.4. G7 = V7, the Fn is from the key signature of C major.5. C7 = V7/IV, the Bb is from the key signature of F major.6. B7 = V7/iii, the D# is from the key signature of E minor.7. E7 = V7/vi, the G# is required as the leading tone to Am.

7.3

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c

c

˙# ˙#nE7 A7

˙ ˙

˙# ˙nD7 G7

˙ ˙

˙b ˙#C7 B7

˙ ˙

˙#nE7

˙1. 2. 3. 4. 5. 6. 7.

PROGRESSES to IV with SECONDARY ii7/IV - V7/IV

The backdoor dominant in mm4 resolves to the iii7, a tonic chord substitute. The form is AABA.

Progression no. 9

Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Gm7 - Cm7 Fm7 - Bb7I ii7 - V7

IVIV iv7 - BD7 iii7 - vi7 ii7 - V7 iii7 - vi7 ii7 - V7

Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Eb - Db7 EbI ii7 - V7

IVIV iv7 - BD7 iii7 - vi7 ii7 - V7 I - BD7 I

Bbm7 Eb7 Abmaj7 ‘ Aø7 D7 Gm7 - Cm7 Fm7 - Bb7ii7/IV V7/IV IV iiø7/iii V7/iii iii7 - vi7 ii7 - V7

Ebmaj7 Bbm7 - Eb7 Abmaj7 Abm7 - Db7 Gm7 - Cm7 Fm7 - Bb7 Eb - Db7 EbI ii7 - V7

IVIV iv7 - BD7 iii7 - vi7 ii7 - V7 I - BD7 I

See also progression no. 10 under remote modulations, p. 149.



PROGRESSES to vi with SECONDARY iiø7/vi - V7/vi

The form is AABA.

Progression no. 11

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 G7 Gø7 - C7I iiø7-V7

vivi7 - V7

Vii7-V7

IVii7-V7bVII

iiø7-V7ii

V7/V iiø7-V7i

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 Gm7 - C7 Fmaj7I iiø7-V7

vivi7 - V7

Vii7-V7

IVii7-V7bVII

iiø7-V7ii

ii7 - V7 I

Cm7 F7 Bbmaj7 Bbmaj7 Ebm7 Ab7 Dbmaj7 Gø7 - C7

ii7/IV V7/IV I/IV I/IV ii7/bVI V7/bVI I/bVI iiø7-V7/i

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Fm7 - Bb7 Aø7 - D7 Gm7 - C7 Fmaj7I iiø7-V7

vivi7 - V7

Vii7-V7

IVii7-V7bVII

iiø7-V7ii

ii7 - V7 I

The form is twelve measure Blues.

Progression no. 12 Blues with “Pretty Chords” or “West Coast” Blues

Fmaj7 Eø7 - A7 Dm7 - G7 Cm7 - F7 Bbmaj7 Bbm7 - Eb7 Am7 - D7 Abm7 - Db7I iiø7-V7

vivi7 - V7

Vii7-V7

IVIV vi7 - V7bIII vi7 - V7/ii vi7 - V7bII

Gm7 C7 F - Dm7 Gm7 - C7ii7 V7 I - vi7 ii7 - V7

The form is ABAB1 .

Progression no. 13

Ebmaj7 ‘ Dø7 G7 Cm7 (F7) Bbm7 Eb7I iiø7/vi V7/vi vi7 (V7/v) ii7/IV V7/IV

Abmaj7 Db7 Ebmaj7 ‘ Cm7 F7 Fm7 Bb7IV BD7 I vi7 V7/V ii7 V7

Ebmaj7 ‘ Dø7 G7 Cm7 (F7) Bbm7 Eb7I iiø7/vi V7/vi vi7 vi7 ii7/IV V7/IV

Abmaj7 Db7 Ebmaj7 Aø7 - D7 Ebmaj7 Gø7 - C7 Fm7 - Bb7 Ebmaj7IV BD7 I iiø7 - V7

iiiI iiø7 - V7

iiii7 - V7 I



USES SECONDARY vii°7 CHORDS

The form is AABA. The B section modulates the remote key of bVI. bVI (Db, 5bs) is closely related to theparallel F minor (4bs).

Progression no. 14

F - F#°7 Gm7 - G#°7 Am7 - F7 Bb - Eb7 Am7 - D7 Gm7 - C7 A7 - D7 G7 - C7I - vii°7/ii ii7 -

vii°7/iiiiii7 - V7/IV IV - BD7 iii7 - V7/ii ii7 - V7 V7/vi -

V7/iiV7/V - V

F - F#°7 Gm7 - G#°7 Am7 - F7 Bb - Eb7 Am7 - D7 Gm7 - C7 Fmaj7 Bb7 Ebm7 - Ab7I - vii°7/ii ii7 -

vii°7/iiiiii7 - V7/IV IV - BD7 iii7 - V7/ii ii7 - V7 I - V7/bvii ii7 - V7bVI

Dbmaj7 -

Bbm7

Ebm7 - Ab7 Fm7 -

Bbm7

Ebm7 - Ab7 Dbmaj7 Bbm7 Gm7 C7

I - vi7bVIii7 - V7bVI

iii7 - vi7bVIii7 - V7bVI

IbVIvi7bVI

ii7 V7

F - F#°7 Gm7 - G#°7 Am7 - F7 Bbmaj7 -

Eb7Am7 - D7 Gm7 - C7 Fmaj7 ‘

I - vii°7/ii ii7 -vii°7/iii

iii7 - V7/IV IV - BD7 iii7 - V7/ii ii7 - V7 I

The form is ABAB1 .

Progression no. 15

F F#°7 Gm7 G#°7 F Bbmaj7 Aø7 D7I vii°7/ii ii7 vii°7/iii I IV iiø7/ii V7/ii

Gm7 Eb7 F Eø7 - A7 Dm7 G7 Gm7 C7ii7 BD7 I iiø7 - V7

vivi7 V7/V ii7 V7

F Aø7 - D7 Gm7 Bø7 - E7 F Bbmaj7 Aø7 D7I iiø7 - V7

iiii7 iiø7 - V7

iiiI IV iiø7/ii V7/ii

Gm7 Eb7 F Am7 - D7 Gm7 C7 F ‘ii7 BD7 I iii7 - V7/ii ii7 V7 I



USES CYCLE of SECONDARY DOMINANTS

The form is ABAC.

Progression no. 16

G7 ‘ ‘ ‘ C7 ‘ ‘ ‘V7/II V7/V

F7 ‘ ‘ ‘ Bb Cm7 - F7 Bb Aø7 - D7

V7 I ii7 - V7 I iiø7-V7vi

G7 ‘ ‘ ‘ C7 ‘ ‘ D7

V7/II V7/V V7/vi

Gm Aø7 - D7 Gm Aø7 - D7 Bb G7 C7 - F7 Bbvi iiø7-V7

vivi iiø7-V7

viI V7/ii V7/V - V7 I

The form is AABA The end of the second A section points to the closely related key of E minor, but theB section is in E major.

Progression no. 17

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C - A7

V7/V - V7 I - IV V7/iii -V7/vi

V7/ii - ii7 ii7 - V7 vi7 - V7/V ii7 - V7 I - V7/ii

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C - F#ø7-B7

V7 V7 V7 V7 I ii7 - V7 I I - iiø7-V7iii

E - C#m7 F#ø7 - B7 G#m7- F‹°7 F#m7 - B7 E - C#m7 F#ø7 - B7 E7 - A7 Dm7 -

Ebm7 -

Em7 - Eb7I-vi7III

iiø7-V7iii

iii/III -vii°7/#v ii7-V7/III I-vi7

IIIiiø7-V7

iiiV7/vi -V7/ii

ii7 - ii7/bII -iii7 - TT7/ii

D7 - G7 C - Fmaj7 B7 - E7 A7 - Dm7 Dm7 G7 Am7 - D7 Dm7 - G7 C

V7/V - V7 I - IV V7/iii -V7/vi

V7/ii - ii7 ii7 - V7 vi7 - V7/V ii7 - V7 I

Progression no. 18 B SECTION of RHYTHM CHANGES

D7 ‘ G7 ‘ C7 ‘ F7 ‘V7/VI V7/II V7/V V7



CHORDS BORROWED from PARALLEL MINOR

The form is AABA.

Progression no. 19

Gø7 C7 Fm ‘ Dø7 G7 C ‘iiø7 V7/iv iv iiø7/i V7/i I


Cm7 F7 Bb ‘ Ab7 ‘ G7 ‘ii7/bVII V7/bVII I/bVII TT7/V V7/i


The form is ABCD. The B and D sections could be labeled variations of the A section.

Progression no. 20

Gø7 C7 Fmaj7 D7 Gm7 C7 Fmaj7 ‘iiø7/i V7/i I V7/ii ii7 V7 I

Gø7 C7 Fmaj7 Bø7 - E7 Amaj7 Bm7 - E7 Amaj7 ‘iiø7/i V7/i I iiø7-V7

iiiI/III ii7-V7

IIII/III

Gm7 C7 Fmaj7 ‘ Aø7 D7 G7 C7

ii7 V7 I iiø7/ii V7/ii V7/V V7

Gø7 C7 Am7 D7 Gm7 C7 Fmaj7 ‘iiø7/i V7/i iii7 V7/ii ii7 V7 I

SIMILAR A SECTION

Progression no. 21 Common A section

C ‘ D7 ‘ Dm7 G7 C ‘I V7/V ii7 V7 I

MODULATES to REMOTE KEYS

Twenty four measure cycle progression. Internal harmonic sequencing help establish form.

Progression no. 22

Bb ‘ Aø7 D7 Gm7 C7 Fm7 Bb7I iiø7/vi V7/vi vi7 V7/V ii7/IV V7/IV

Ebmaj7 ‘ Ebm7 Ab7 Dbmaj7 ‘ C#m7 F#7IV ii7/bIII V7/bIII I/bIII ii7/bII V7/bII

Bmaj7 ‘ Cø7 F7 Dm7 Db7 Cm7 F7I/bII iiø7/i V7 iii7 TT7/ii ii7 V7



The form is AABA. B section wanders through several remote keys.

Progression no. 10

Bbmaj7 (F7) Fm7 Bb7 Ebmaj7 ‘ Ab7 ‘I (V7) ii7/IV V7/IV IV BD7

Bbmaj7 ‘ C7 ‘ Cm7 G7 Cm7 F7I V7/V ii7 V7/ii ii7 V7


Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘I V7/V ii7 V7 I

C#m7 F#7 Bmaj7 ‘ Bm7 E7 Amaj7 ‘ii7/bII V7/bII I/bII ii7/VII V7/VII I/VII

Am7 D7 Gmaj7 ‘ Gm7 C7 Cm7 F7ii7/VI V7/VI I/VI ii7/V V7/V ii7 V7


Bbmaj7 ‘ C7 ‘ Cm7 F7 Bbmaj7 ‘I V7/V ii7 V7 I

The form is AABA. The second A section is in a different key and the last A section is extended by fourmeasures.

Progression no. 23

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Dø7 - G7 Cmaj7 ‘vi7 ii7 V7 I IV iiø7 - V7

viI/VI

Cm7 Fm7 Bb7 Ebmaj7 Abmaj7 Aø7 - D7 Gmaj7 ‘vi7/V ii7/V V7/V I/V IV/V iiø7 - V7

viiI/VII

Am7 D7 Gmaj7 ‘ F#ø7 B7 Emaj7 C7ii7/VII V7/VII I/VII iiø7/bVI V7/bVI I/bVI V7/vi

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Gb7 Ab/C B°7vi7 ii7 V7 I IV BD7 I vii°7/iii

Bbm7 Eb7 Abmaj7 (Gø7 - C7)ii7 V7 I iiø7 - V7

vi

Chapter 8 Harmonic Substitutions & Turnarounds 151


VIII. Harmonic Substitutions & Turnarounds

Harmonic progressions in a jazz performance are very liquid and pliable. Many commonly performedjazz standard tunes have no agreed upon “correct” set of chords. Comparing several performances orrecordings will reveal different harmonic progressions for the same tune. The differences may varygreatly depending on the artist and the arranger. Experienced artists may change the harmonic progres-sion from chorus to chorus during a single performance; the harmony used as a developmental devicefor creating more or less tension in the course of the performance. The progression may change withina single performance, shifting between complex and simple. Assumptions about the “correct” set ofchords to a particular piece are usually based on the first source experienced. First sources include oldstyle lead sheets, legal or illegal fake books, and recordings of a specific artists. Harmonic preferencesand even standard keys for some tunes change for different regions of the world usually determined by ainfluential group of local musicians. The creative approach of a single well-known artist may influencethe harmonic choices for many. Ironically, the most often played progressions, including blues and“rhythm changes,” may have the most harmonic variations rather than having an authoritative agreedupon harmonic framework.

Before there were legal “fake” books, illegal versions could be purchased from various sources.Published sheet music typically had three lines: one for the melody and lyric, plus the two line staff easypiano arrangement. Earlier sheet music might have included simplified chord symbols for guitar, banjoor ukulele above the top line. “Fake” books were made by cutting off the top melodic line of music withwhatever limited chord symbols appeared. These skeletal pieces were pasted two tunes to the page andput together into books used by working musicians. Working musicians expanded the sparse harmonicvocabulary in performances by inserting extra chords progressing from one primary point to another.The limitations of ukulele and banjo led to many omissions and some confusing looking chord symbols.A progression marked F - G7 for the ukulele or guitar might have actually been Dm7 - G7 in the pianopart; the D bass note having been cut off for the “fake” book version. A iiø7 - V7 to the key of A minormight appear as Dm6 - E7 in the banjo chords. The Dm6 shares the same notes as the Bø7, and with a Bin the bass in the cut off piano part would sound like a Bø7. As musicians played these tunes over theyears, much of the original harmony was “improved,” new substitutions were added and passed on ei-ther from new lead sheets, arrangements, or through the oral traditions.

Compare several legal copyrighted versions of standard jazz tunes today and a number of different of“correct” versions of the chord changes emerge. Any creative, experienced jazz performer will have apersonal approach to many of these common progressions.

A jazz performer must have the tools to master the elastic state of jazz harmony. These tools include un-derstanding formula progressions that can be applied to sections of standard jazz tunes and strategiesfor enhancing lead sheet progressions. Several versions of the same progressions are compared belowaddressing practical applications of harmony. These principles will then be applied to the most com-mon forms played by jazz musicians: the blues and rhythm changes. All of the harmonic considerationsin this chapter will be confined to the major/minor system. There are other harmonic possibilities thatcan be addressed only after acquiring a thorough understanding of the major/minor system.

152 Chapter 8 Harmonic Substitutions & Turnarounds


TURNAROUND PROGRESSIONS

I . Turnarounds to Tonic (I)

Many progressions end with two measures of the tonic chord and begin again on the sametonic chord. This creates twelve or more beats of the same static sound. Several otherchords may be placed in this area which create motion to replace the static harmony. Thenew progressions are called “turnarounds” as they turn the piece around the top of theform. There are many tunes that are based on a variation of these turnaround progressions.Try to determine the accidentals necessary in these turnarounds.

Static harmony: the last two measures of the form and the first measure all on the tonic chord begs forharmonic motion to replace the static harmony.

C CI I

Additional harmony is inserted in a passage by working backwards from the targeted resolution. Thetonic chord (C) at the top of the chart can be preceded with its diatonic ii7 and V7 (Dm7 - G7) in thefinal measure. The root motion of downward fifths is strong.

C Dm7 G7 CI ii7 V7 I

Backing up one more place in the progression allows the insertion of vi7 which creates a longer passageof downward fifth root motion: vi7 - ii7 - V7 - I.

C Am7 Dm7 G7 CI vi7 ii7 V7 I

Secondary dominant chords can replace diatonic chords. The vi7 chord can be replaced by a V7/ii; theii7 chord can be replaced by the V7/V. Secondary dominants produce more forward motion by intro-ducing chromatic voices that briefly point away from the primary tonal center.

C A7 D7 G7 CI V7/ii V7/V V7 I

A secondary leading tone chord can be used in place of a secondary dominant chord. The C#°7, thevii°7/ii, creates a chromatically ascending bass line which returns to the downward fifth motion with theii7 - V7 - I.

C C#°7 Dm7 G7 CI vii°7/ii ii7 V7 I

A dominant chord may be replaced by its tritone substitute dominant when the dominant chord is re-solving down a fifth. If the dominant chord is resolving deceptively, as ii - V7 - vi, a tritone substitutedominant would not appropriate. The roots of a sequence of tritone substitutions may progress indownward fifths The bass line and the chromatic harmony create motion which points away and ulti-mately resolves back to the tonic chord.

C Eb7 Ab7 Db7 CI TT sub for V7/ii TT sub for V7/V TT sub for V7 I



Progression in countless thirty-two measure forms and the blues resolve back to the tonic chord in thelast two measures and begin again on the same tonic chord. The resolution to the tonic chord in thosefinal two measures can be avoided by using the iii7 chord or the I6 chord as a substitute for I. The iii7chord leads well to the vi7 or V7/ii7 chords with descending fifth root motion. The iii7 chord leadschromatically to the tritone substitute for V7/ii. A descending chromatic bass line can be created bysubstituting iii7 for I, and using the tritone substitutes for V7/ii and V7 as shown below.

Em7 Eb7 Dm7 Db7 Ciii7 TT sub for V7/ii ii7 TT sub for V7 I

E7 is the V7/vi and can also be inserted in the progression to avoid the tonic chord. If the tonic chordtones are sounded over the E7, they create colorful upper extensions (C= b13, E = Root, G = #9 of E7). Adescending chromatic bass line is shown below using all dominant chords.

E7 Eb7 D7 Db7 CV7/vi TT sub for V7/ii V7/V TT sub for V7 I

E7 can also have a tritone substitution. Bb7 may be a long way from the tonic chord, but it may soundinteresting as the C triad over the Bb7 chord yields other colorful upper extensions (C = 9, E = #11, G =13 of Bb7). The progression below has a bass line of descending fifths using all tritone substitute domi-nants.

Bb7 Eb7 Ab7 Db7 CTT sub for V7/vi TT sub for V7/ii TT sub for V7/V TT sub for V7 I

A chromatic bass line can be created using a combination of tritone substitution, secondary dominantsand the dominant.

Bb7 A7 Ab7 G7 CTT sub for V7/vi V7/ii TT sub for V7/V V7 I

The vii°7/iii can be used deceptively in this turnaround.

Cmaj7 or Em7 D#°7 Dm7 G7 CI or iii7 vii°7/iii ii7 V7 I

Chords from the parallel minor can be used for a color change. The diatonic major chords, vi7 - ii7 -V7, are replaced by corresponding chords from the parallel minor. The fundamental G7 chord willsound the same but would have different upper extensions. The lowered third and sixth degrees of the Cminor scale yield the b13 and b9 over the G7.

Cmaj7 Abmaj7 Dø7 G7 (b13 b9) CI bVI/i iiø7/i V7/i I

This is not a commonly used turnaround, but is possible and may inspire an arrangement or composi-tion.

Cmaj7 Am7 Fmaj7 or Fm7 Bb7 CI vi7 IV or iv/i Backdoor deceptive

resolution

I

An artist may use a different turnaround progression within the performance of a tune. Differentturnarounds may be chosen for different emotional or structural moments in the solo. In a four chorusimprovisation on a jazz standard progression in Bb major, Keith Jarrett used three different turnarounds.



At the end of the first chorus Jarrett played only two chords over the dominant pedal note F. This re-strained the forward motion for a moment before releasing it at the top of the second form.

Bbmaj7/F Cbmaj7/F BbOver dominant

pedalI

At the end of the second chorus he used this diatonic progression:

Bbmaj7 Gm7 Cm7 F7 BbI vi7 ii7 V7 I

As the solo built to the more climactic third chorus, Jarrett changed only the second chord. Jarrett’smelodic material over this turnaround was a flurry of sixteenth notes.

Bbmaj7 G7 Cm7 F7 BbI V7/ii ii7 V7 I

The last turnaround set up the end of the solo and Jarrett returned to the diatonic progression andslowed the rhythmic activity of the melodic material to help the improvisation come to a close.

Bbmaj7 Gm7 Cm7 F7 BbI vi7 ii7 V7 I

I I . Turnarounds to Supertonic (ii)

Pieces may end with a tonic chord in the last two measures of the form and may begin onthe ii7 chord. Many compositions will at some point modulate from the key of I to the keyof ii. The following progressions are possible for that temporary modulation.

Any chord can be preceded by its dominant and its ii7 or iiø7 chord. The insertion of these chords in-troduces chromatic pitches which point away from the tonic chord and point the progression towardsthe ii7 chord. The root motion is strong utilizing descending fifths.

Cmaj7 Eø7 A7 DmI iiø7/ii V7/ii ii

The strong downward fifth root movement from I to IV can precede the iiø7/ii - V7/ii - ii7 progression.The half-step resolution from IV to iiø7/ii is strong. The F chord is a common chord between the key ofC (as IV) and the key of D minor (as bVI).

Cmaj7 Fmaj7 Eø7 A7 DmI IV iiø7/ii V7/ii ii

A diatonic iii7 chord can be used instead of the iiø7/ii. This delays pointing to the ii7 chord (V7/ii) un-til the last moment in this progression. The iii7 chord may be preceded by its dominant.

Cmaj7 B7 Em7 A7 DmI V7/iii iii7 V7/ii ii

A chromatic bass line can be created by using a series of secondary tritone substitute dominants.

Cmaj7 B7 Bb9 A7 DmI V7/iii TT sub for V7/vi V7/ii ii



A strong downward fifth bass line through a series of tritone substitutions finally resolves to the ii7chord in the following turnaround progression.

Cmaj7 F9 Bb9 Eb9 DmI TT sub for V7/iii TT sub for V7/vi TT sub for V7/ii ii

I I I . Turnarounds to Submediant (vi)

Pieces may end with a tonic chord in the last two measures of the form and may begin onthe vi7 chord. There are several tunes whose bridge or middle sections modulate to the keyof vi. The following progressions modulate from the key of I to the key of vi.

The most common approach is to precede the vi7 chord with its iiø7 and V7.

Cmaj7 Bø7 E7 AmI iiø7/vi V7/vi vi

The strong downward fifth movement from I to IV often precedes the iiø7/vi - V7/vi. The downward fifthmotion continues from IV to iiø7/vi and is still strong even though F to Bn is a diminished fifth.

Cmaj7 Fmaj7 Bø7 E7 AmI IV iiø7/vi V7/vi vi

The IV chord can be made into a dominant chord, which makes it a tritone substitute for the V7/iii. Thischord occurs countless times in traditional music and might then be labeled an augmented sixth chordwith any number of international titles (French, Italian, German).

Cmaj7 F9 E7 AmI TT sub for V7/iii V7/vi vi

By using the tritone substitute for the V7/vi, a bass line of descending fifths can be created that resolvesdown a half-step to the vi chord.

Cmaj7 F9 Bb9 AmI TT sub for V7/iii TT sub for V7/vi vi

IV. Turnarounds to Subdominant (IV)

While rarely found at the beginning of tunes, many tunes modulate to the IV chord atsignificant points in the form. Here are typical turnaround modulating from the key of Ito the key of IV.

Key changed by inserting the ii7/IV - V7/IV.

Cmaj7 Gm7 C7 FI ii7/IV V7/IV IV

Sliding chromatically to the ii7/IV. The chromatic Abm7 chord is not as much functional as it is achromatic passing chord, but would probably sound like the ii7/bV.

Cmaj7 Am7 - (Abm7) Gm7 C7 FI vi - (ii7/bV) ii7/IV V7/IV IV



A chromatic bass line can be created using tritone substitute and secondary dominants.

Cmaj7 Ab7 G7 Gb7 FI TT sub for V7/v V7/IV TT sub for V7/IV IV

Cmaj7 Db7 C7 FI TT sub for V7/IV V7/IV IV

IV. Turnarounds to mediant

Tunes rarely begin on a iii chord, but many tunes modulate to the key of iii at the bridge orother sections. The following progressions modulate from the key of I to the key of iii.

Root movement down in thirds produces a smooth transition as adjacent chords share three pitches.The simple triad (1-3-5) becomes the 3-5-7 of the next, so that the C triad (C-E-G) becomes the 3-5-7 ofthe Am7 chord; the A minor triad (A-C-E) becomes the 3-5-7 of the F#ø7 chord. The iiø7/iii - V7/iiipoints the iii chord.

Cmaj7 Am7 F#ø7 B7 EmI vi iiø7/iii V7/iii iii

The tonic chord could change to a dominant quality and then progress to the V7/iii as shown below. Inthis instance, the C7 does not function as the V7/IV, but as an augmented sixth chord or a tritone substi-tute for the V7/vii.

Cmaj7 C7 B7 EmI Augmented 6th

chord or TT subfor V/vii

V7/iii iii

APPLICATION to STANDARD PROGRESSIONS

There are only two rules in music theory: (1) Does it sound good; and (2) does it sound good. Withthose rules in mind, principles for reharmonization would include:

• The harmony supports the melody. Do not force harmony onto a piece that does not servethe melody. I witnessed a pianist trying to get a singer to change the melody notes of an oldstandard to fit a reharmonization. There is no good reason to impose incompatible har-mony onto a melody, no matter how interesting the progression.

• Certain additions or deductions of harmony will alter the mood. Keep in mind what the fo-cus should be at any given moment in the piece before altering the harmony.

• There are certain significant junctures that may be expected within the form of a standardtune. For instance, some kind of chord built on the fourth degree is expected in m.5 of theblues. Figure out what can and cannot change within a tune before getting carried away withsubstitutions.

The standard progression is shown below with four different harmonic settings. The top line is straightfrom very old lead sheet. The second and third lines are from different recently published versions. Thelast line is how I personally might play it.

The passing Gm chord, which was probably in first inversion with Bb in the bass in the original sheetmusic, does not show at all in the recent versions. I have added the Bb7 chord (acting as a TT7/vi),



which enhances the bass motion down to the A7. None of the recent versions use the V7/V in m.2 rely-ing on the unaltered ii7 chord. All of the modern versions feature some kind of a turnaround to get tothe ii7 chord coming up in m.5. The Fmaj7 and the Dm7 chords in m.3 are similar sounding and workto progress to the iii7 chord in m.4.

Progression no. 31 Cmaj7 Gm A7 ’ D7 ’ G7 ’ C ’ ’ ’ ’ ’ ’ C dim.

Cmaj7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Fmaj7 ’ Em7 ’ A7 ’Cmaj7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Dm7 ’ Em7 ’ A7 ’Cmaj7 Bb7 A7 ’ Dm7 ’ G7 ’ C ’ Fmaj7 ’ Em7 ’ A7 ’1 (or D#°7)

The F chord in the original lead sheet at m.5 was probably a Dm7 chord with a D in the bass of the pi-ano arrangement, but that part was cut off to make the fake books. The tonic chord has been replaced bythe iii7 chord in two versions. In the bottom line there is a descending bass line to the root of the iii7chord. All versions used typical turnaround progressions to get back to the tonic chord that begins therepeat of the A section in m.9.

Progression no. 31 Fmaj7 ’ ’ ’ G7 ’ ’ ’ C ’ A7 ’ F ’ G7 ’Dm7 ’ ’ ’ G7 ’ ’ ’ Em7 ’ A7 ’ Dm7 ’ G7 ’Dm7 ’ ’ ’ G7 ’ ’ ’ C ’ A7 ’ Dm7 ’ G7 ’Dm7 ’ ’ ’ G7 ’ G/F ’ Em7 ’ A7 ’ Dm7 ’ G7 ’5

The biggest harmonic differences between the versions occur in the bridge of the tune. The F chord inm.17 is commonly replaced by Dm7. The D#°7 is labeled by two other names: C dim. and Eb°7. D#°7, thevii°7 of iii, is the most logical label. The three modern versions use Dm7 in place of the F at the begin-ning of the next phrase and prepare for it with the secondary dominant, A7 (V7/ii).

Progression no. 31 F ’ G7 ’ C ’ C dim. ’ F ’ G7 ’ C ’ ’ ’Dm7 ’ G7 ’ Em7 ’ Eb°7 ’ Dm7 ’ G7 ’ C ’ A7 ’Dm7 ’ G7 ’ Em7 ’ Eb°7 ’ Dm7 ’ G7 ’ C ’ A7 ’Dm7 ’ G7 G/F Em7 ’ D#°7 ’ Dm7 ’ G7 ’ C ’ A7 ’17



The modern versions use a Dm7 in place of the F at m.21. There are three choices for arriving at theAm7. The first and third versions use the deceptive V7 - vi7 cadence with no preparation for the A mi-nor area. The second version uses the iiø7/vi7 - V7/vi, strong because of the descending fifths in thebass line. The bottom version uses a chromatic bass line moving from the G7 (V7) to the G#°7 (vii°7/vi).

Progression no. 31 F ’ G7 ’ Am ’ C ’ B7 ’ ’ ’ E ’ G7 ’Dm7 ’ Bø7 E7 Am7 ’ Am/G ’ F#m7 ’ B7 ’ Emaj7 ’ G7 ’Dm7 ’ G7 ’ Am7 ’ Am/G ’ F#m7 ’ B7 ’ Emaj7 C#m7 Dm7 G7

Dm7 ’ G7 G#°7 Am7 ’ Am/G ’ F#ø7 ’ B7 ’ Emaj7 ’ Dm7 G721

The following compares the bridge from a sheet music version to a possible reharmonization. Both ver-sions begin on F and land on the Dm7 chord in m.3. The reharmonization approaches the Dm7 by de-scending fifths. A7 is the secondary dominant (V7/ii) which suggests using Em7 (iii7) or I in first inver-sion instead of the I chord. If Em7 is used in place of I, then it can be tonicized by the iiø7/iii - V7/iiiprogression. The F chord, as IV in the key of C, shares the same third, fifth and seventh with the F#ø7 sothe only change between those chords is in the bass line.

Progression no. 32 chords from sheet musicF ’ ’ ’ C ’ C#°7 ’ Dm7 ’ G7 ’ C ’ ’ ’1

F ’ F#ø7 B7 Em7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Bø7 E7

Listen to the descending bass line in m.5 in the lower staff. Both versions agree at the Am7, Em7, D7, G7and the C in the second phrase. The lower version has more motion with the added iiø7/iii - V7/iii, theV7/ii, the vii°7/iii, and the iii7 - V7/ii - ii7 - V7 leading back to the tonic chord.

Progression no. 32 chords from sheet musicAm ’ ’ ’ Em ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’ C5

Am Am/G F#ø7 B7 Em7 ’ A7 ’ D7 ’ D#°7 ’ Em7 A7 Dm7 G7 C

A common substitution in jazz performance is to use a iiø7 - V7 or a ii7 - V7 in place of the vii°7 fromold published versions. Many performers considered the diminished seventh chord to be old fashionedcompared with the “new and improved bebop ii7 - V7” progression. In progression no. 33, neither theG#°7 nor the Bm7 - E7 point to the Gm7. The Bm7 - E7 functions the same a G#°7, pointing to the key ofA or A minor. This G#°7, the vii°7/iii, is often found resolving to a ii7 chord. The Bbmaj7 keeps the bassmoving down in fifths.

Progression no. 33

G#°7 ’ ’ ’ Gm7 ’ C7 ’ Fmaj7 ’ ’ ’ Eø7 ’ A7 ’ Dmaj7

Bm7 ’ E7 ’ Gm7 ’ C7 ’ Fmaj7 ’Bbmaj7 ’ Eø7 ’ A7 ’ Dmaj7

In progressions no. 34, the G#°7 is replaced with a change of quality. The Abm7 and The G#°7 share thesame root and third, but have different qualities because of the difference between the perfect fifth ofthe Abm7 and the diminished fifth of the G#°7. The Abm7 - Db7 does not point the same place as theG#°7, but creates a chromatic side-slipping passage from the Am7 to Abm7 and finally the Gm7. Thechords slip down by half step, but the Abm7 and Db7 chords are from the key of Gb, a half step above F.



Progression no. 34

Bbmaj7 ‘ Bbm7 Eb7 Fmaj7 ‘ G#°7 ‘ Gm7

Bbmaj7 ‘ Bbm7 Eb7 Am7 ‘ Abm7 Db7 Gm7

A diminished seventh chord and a iiø7 - V7 point to a minor key and can be used interchangeably. Inan actual performance there may be no way to tell the difference. The soloist may be thinking one pro-gression and the bass player another as both sets of chords share the same pitches and those pitchespoint to the same minor key. This common passage may be thought of in either of the two ways shownor both ways simultaneously. The G#°7 or the Bø7 - E7 point to the ii7 chord Am7. The A#°7 or the C#ø7- F#7 point to the iii7 chord Bm7. Sometimes, instead of resolving to the iii7 chord Bm7, the I chord Gmajor in first inversion may occur in this passage as a deceptive resolution of the F#7.

Progression no. 15

Gmaj7 ’ ’ ’ G#°7 ’ ’ ’ Am7 ’ ’ ’ A#°7 ’ ’ ’ Bm7

Gmaj7 ’ ’ ’ Bø7 ’ E7 ’ Am7 ’ ’ ’ C#ø7 ’ F#7 ’ Bm7

Jazz performers often reharmonize simple passages from the original published versions of jazz stan-dards. These extra chords create more motion and add color. The original version of progression no.35 has the tonic chord lasting for two measures before moving to the ii7 chord. A more commonly per-formed version utilizes a turnaround progression to the ii7 chord: I - IV - iii7 - V7/ii - ii7. Instead of theambiguous A diminished, the iiø7/iii - V7/iii chords are commonly used in the fourth measure andpoint to a Dm7 (iii7) chord in m.5.

Progression no. 35Bb ’ ’ ’ ‘ Cm7 ’ G7 ’ A dim. ’ ’ ’1

Bbmaj7 ’ Ebmaj7 ’ Dm7 ’ G7 ’ Cm7 ’ Cm/Bb ’ Eø7/A ’ A7 ’In order to keep the progression moving and sustain the dissonance, the I chord is often avoided in themiddle of a progression. If the progression leads back to the tonic chord too soon or too often, it be-comes commonplace. If the return to tonic has been averted by using other chords, tonicizations andsubstitutions, then when the music finally returns to tonic it will be all the more potent. It retains moreof its strength from not being overused. Imagine a trip around the block: how much would you misshome if gone only a few minutes? Weeks on the road will make someone long for home again. You mustdepart in order to return. If the I chord is heard in the first measure, again in the fifth, and again at therepeat of the first section at m.9, the impact of the tonic chord will be lessened.

At m.5 of progression no. 35, the original sheet music called for a return to the tonic chord. The use ofthe iii7 (or a I chord in inversion) saves the return to tonic for the next phrase. The D7 is a secondarydominant which points to the vi7 chord. The Db9 chord is a tritone substitute to for the V7/ii (G7) andpoints to the Cm7 chord. The Cø7 is a borrowed chord from the parallel key of Bb minor and adds an-other dimension of color to the progression. Setting up a cadence to Bb minor is another way ofstrengthening the resolution to major in the second eight measure phrase. The lowered pitches sug-gested by the borrowed iiø7/i chord create a darker sound which will make the ultimate resolution tomajor sound brighter than it would have coming from the diatonic ii7 - V7 chords Cm7 - F7.

Progression no. 35Bb ’ ’ ’ Gm7 ’ ’ ’ Cm7 ’ ’ ’ F7 ’ ’ ’5

Dm7 ’ D7 ’ Gm7 ’ ’ Db9 Cm7 ’ ’ ’ Cø7/Gb ’ F7 ’



Many passages lend themselves to multiple reharmonizations. Four versions are shown below formm.13-16 of progression no. 35. This is the end of the B section that leads back to the A section and thetonic Bb chord. The top line is from an old lead sheet version; the other three are from published orperformance variations. All four begin with Gm and end with F7, but are quite different in between.

The second line reinforces the Gm7 in m.13 by using its dominant D7. The V7/V, C7 never resolves to F,but instead changes chord quality from a dominant to a minor 7 and becomes the diatonic ii7 chord,Cm7. The Cm7 - G7 - Cm7 in mm.15-16 mirrors the earlier passage Gm7 - D7 - Gm7. The ii7 chord,Cm7, is then followed by the F7, the dominant which prepares the return to tonic.

The third line path is the same as the second line until the C7, the V7/V. The C7 moves to a C#°7, thevii°7/iii, setting up the last two measure turnaround iii7 - V7/ii - ii7 - V7. The C7 and the C#°7 share thesame third, fifth and seventh so only the bass note changes. The C7 points to the key of F (1b) and thenthe C#°7 points to the key of D minor (1b plus the leading tone C#).The fourth line begins with a descending bass line to the Eø7. The last three measures utilizes a circle offifth root progression with iiø7 - V7 of iii, iii - V7/ii and then the ii7 - V7 leading back to the I chord. Inthe second measure, the Dm7 (iii) is tonicized sooner by the Eø7 and A7 than it was in the third line.

Progression no. 35Gm ’ ’ ’ C7 ’ ’ ’ F7 ’ ’ ’ F7 ’ ’ ’13

Gm ’ D7 ’ Gm7 ’ C7 ’ Cm7 ’ G7 ’ Cm7 ’ F7 ’Gm ’ D7 ’ Gm7 ’ C7 C#°7 Dm7 ’ G7 ’ Cm7 ’ F7 ’Gm ’ Gm/F ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’Sometimes an old lead sheet version is so simple it not only allows, it demands reharmonization. The Ichord in progression 36 below lasts four measures and then the vi7 chord appears suddenly withoutpreparation. While there is nothing wrong with this, at slow and medium tempos the lack of motion canimpair the momentum of the piece (and may be interpreted by some to be a bad musical joke at theexpense of a beautiful composition). A few moving chords can create motion to keep the progressionalive. Working backwards, the E7, V7/vi prepares the Am7 chord. The diatonic ii7 - V7 chords can antic-ipate the short return of tonic in the fourth measure. To prepare the ii7 chord a typical I - IV - iii7 -V7/ii could be considered. Why then is the D#°7 used instead of the A7, the V7/ii? The melody must al-ways be considered when reharmonizing. There is a Bn in the melody in the second half of m.2 that con-traindicates the use of an A7. The A7, as the V7 in the key of D minor suggests the key of one flat (Bb).The vii°7/iii resolving deceptively, as it often does, to the ii7 chord provides chromatic color and satis-fies the Bn in the melody. With Bn in the melody over the D#°7, it will sound like a B7b9 in first inversion.How can that point to Dm7? It does not point to Dm7, but is logical as a chord following the Em.

Progression no. 36

C ’ ’ ’ ‘ ‘ ‘ Am ’ ’ ’1

Cmaj7 ’ Fmaj7 ’ Em7 ’ D#°7 ’ Dm7 ’ G7 ’ C ’ E7 ’ Am ’ ’ ’ (Dm7)

The melody is the most important factor when consideration any harmonic setting. The second con-cern should be with the bass line and its relationship to the melody. Most of the progressions dealt withso far have had chords only in root position. The bass lines have been considered with emphasis on thetypical downward fifth progressions like V7 - I and ii7 - V7 - I. There are times when the use of an inver-sion can create interest in a harmonic progression that supports the melody. The commonly played



version on the top line of progression no. 6 serves the melody and is itself interesting enough. Thelower version has a descending step line in the bass: F - E - (A) - D - Db - C - B - Bb - A. Both progres-sions arrive at the Aø7 but by different paths. The lower version uses two chords over a pedal F, thedominant of Bb in m.9. The F bass note easily moves down a step to the Eø7. The A7 chord interruptsthe step line briefly but resolves to Dm7, the next note in the descending line. The Dm7 moves toDbmaj7, to keep the bass line moving down in steps. The Dbmaj7 is related to the Bbm7 chord (and maybe heard as a Bbm in first inversion) and moves easily to the F chord in second inversion. The F/C mir-rors the Bb/F chord in m.9 and continues the step line. The C bass note moves to the Bn and Bb, creatingtwo different quality G chords (G major and Gø7) and then steps down chromatically to the Aø7.

Progression no. 6

Bb ’ ’ ’ Eø7 ’ A7 ’ Dm7 ’ ’ ’ Bbm7 ’Eb7 ’9

Cb/F Bb/F ’ ’ Eø7 ’ A7 ’ Dm7 ’ ’ ’ Dbmaj7 ’ ’ ’Fmaj7 ’ ’ ’ Gm7 ’ C7 C/Bb Aø7 ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’13 (Eø7 ’ A7 ’)Gb/C F/C ’ ’ G/B ’ Gø7/Bb ’ Aø7 ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’Not all harmonic substitutions are interchangeable. A pianist cannot assume the bass player will imagineall of his inventive substitutions and the soloist cannot assume the piano player will know or hear whatunusual substitutions he has practiced. Many basic substitutions will cause little conflict, and if so, onlyfor short episodes. For example, there is no real difference between a V7/ii and a vii°7/ii. If there are tobe major departures from the normal progressions, then some consultation should occur before theperformance. However, the band as a unit should be listening to each other for subtle changes and al-terations, being sensitive to each role and the overall character of the music.

There are times when the soloist will impose substitute harmony over a progression with or without therhythm section. These work as linear substitutions. The chords and lines are working on different levelsto point to a particular place. Things may not always agree vertically between the improvised line andthe rhythm section, but dissonances will resolve in a linear manner.

This is a typical turnaround progression found in blues, rhythm changes, and many other tunes. TheAm7 could be a substitute for the I chord in the middle of repeating the progression.

F D7 Gm7 C7 Am7

’ ’ ’ ’ ’ ’ ’ ’ ’With Am7 as the goal, the C7 (V7) could be replaced by G#°7 (vii°7 of iii).

F D7 Gm7 G#°7 Am7

’ ’ ’ ’ ’ ’ ’ ’ ’The progression could return to the F in first inversion instead of the Am7 and would still sound good.The two chromatic tones suggested by the G#°7, the G# and the Bn, will resolve to the A and C whetherchord is an F or Am7.

F D7 Gm7 G#°7 F/A

’ ’ ’ ’ ’ ’ ’ ’ ’Charlie Parker used the harmonic substitution from above in the following excerpt from a blues impro-visation. The rhythm section may not have had time to adjust or predict the G#°7 chord. The bass player



could have played a C7 and resolved to Am7 and the lines still work. There are two chromatic voicessuggested by this passage which are shown below the melodic line.

&

&

b

b

œ œ œ œ œ œ œ œF

ww

œ œ œ œ œ# œn œ œGm7 G#°7

˙ ˙n#

œ œF

ww

A similar linear substitution occurs in this example from Dexter Gordon. Is the last part of this progres-sion V7 - I (F7 to Bb) or is it A7 or C#°7 pointing to Dm7 or pointing to Bb in first inversion?

& bb c œ œ œ œ œ œ œ# œBb Gm7

œ œ œ œ œ# œn œ œCm7 F7

3

œ œ œ œ œ œ œBb

Adding more harmonic movement can add life to static passages. The relation of the bass note to themelody is an important consideration, but remember that inner voices can create motion, too. The pas-sage below is a common I - ii7/IV - V7/IV - IV progression.

Progression no. 37

Ebmaj7 ’ ’ ’ ‘ Bbm7 ’ ’ ’ Eb7 ’ ’ ’ Abmaj7 ’ ’ ’The passage is transformed with the additions below. The chord symbols on the top line below do nottell the whole story. The diatonic ii7, iii7, and IV chords have been added in the first two measures. Inthe last beat of m.2 the vii°7/v prepares for the change to Bbm7, which as ii7/IV signals the change tothe key of IV. Preceding the Eb7 and the Abmaj7 chords are tritone substitutions dominants. Thesechords alone satisfactorily ornament the original simple progression. The chromatic inner voice in thefirst two measures changes the focus from plodding chords to dramatic linear motion.

&

?

bb b

b b b

˙ ˙Ebmaj7 Fm7

œ œn œ œ#˙ ˙

˙ œœ œœœbGm7 Abmaj7 A°7

œ œ œ œb˙ œ œn

˙b ˙#n#Bbm9 E13

œ œ ˙#˙ ˙n

˙nbn ˙n##Eb13 A13

˙n ˙˙ ˙n

wwwbnnAbmaj7

wwb

Tempo and the overall mood and character of the piece should be considered when adding or subtract-ing harmonic content. The above passage works well in slow settings. The subtleties may be lost at fastertempos. Do not assume that slow passages must have added harmony to be interesting. Even very slowballads can benefit from the simplification of harmonic motion.



After a passage with half-note harmonic rhythm, it might be effective to slow the motion down ratherthan add more. There are two ways to achieve less motion. One device is to use fewer chords in the pro-gression; the other is to use a pedal point in the bass while the chords continue moving. The dominantpitch holding in the bass creates a restlessness after the moving passages, and when the bass releases thepedal, gives a forward thrust to the next section. The progression below is an A section to a beautiful bal-lad. The harmonic motion is constant with chords changing every two beats and then every beat.

Ebmaj7 C7 Fm7 Bb7 Ebmaj7 Db7 Cm7 Gb7 F7 Cb7 Bb7 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Ebmaj7 Ab7 Dbmaj7 Gø7 C7 F7 Cb7 Fm7/Bb Bb7 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

After the active A section, the B section continues with more half note harmonic rhythm using the I - vi7- ii7 - V7 progression below.

Ebmaj7 Cm7 Fm7 Bb7 ’ ’ ’ ’ ’ ’ ’ ’

Using two devices in conjunction slows the pace. The vi7 and V7 chords have been removed and the Iand ii7 chords are placed over a Bb pedal below. The break in the harmonic rhythm allows the soloistor singer some freedom and will give the music a boost when the pedal is released.

Ebmaj7/Bb Fm7/Bb ’ ’ ’ ’ ’ ’ ’ ’

Pedals can be effective at any tempo. They can save a long performance of an up tempo piece by givingthe listener (and the bass player) a reprieve from the constant four beat swing feel. After a few chorusesof the following progression, dominant pedals through the B section might be welcome.

Progression no. 23.

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Dø7 - G7 Cmaj7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’Cm7 Fm7 Bb7 Ebmaj7 Abmaj7 Aø7 - D7 Gmaj7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’(D pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ) (B pedal . . . . . . . . . . . . . . . . . . . . . . . . . )

Am7/D D7 Gmaj7/D ‘ F#ø7/B B7 Emaj7/B C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’Pedal released: motion returns

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Gb7 Ab/C B°7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’Bbm7 Eb7 Abmaj7 (Gø7 - C7)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’



The backdoor dominant chord is a variation of a plagal IV - iv - I resolution. In the second phrase ofprogression no. 38, the IV chord (Bb) is followed by the iv (Bbm7) then the backdoor dominant Eb7 re-solves to the I chord, F. To avoid an anticlimactic return to the home tonic chord too soon, the iii7chord, Am7 can replace the I chord as shown in the second line.

Cannonball Adderley recorded a tune with this progression and replaced the iii chord with a majorchord on the bIII. In another context anyone would have expected the Abmaj7 to follow Bbm7 and Eb7,but in the context of F major, the characteristic resolution of Eb7 would have been to the F or Am7. Theuse of the bIII chord creates a situation where the Eb7 to Abmaj7 is a surprise deceptive cadence! TheAbmaj7 chord is not far removed from the parallel key of F minor, and in this case, the melody note Cfits all of the possible chords m.7: F, Am7 and Abmaj7.

Progression no. 38

F ’ ’ ’ E7 ’ ’ ’ F ’ ’ ’ Cm7 ’ F7 ’1

Fmaj7 ’ ’ ’ Bm7 ’ E7 ’ Fmaj7 ’ ’ ’ Cm7 ’ F7 ’Bbmaj7 ’ ’ ’ Bbm7 ’ Eb7 ’ F Gm7 ’ C7 ’5

Bbmaj7 ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ Dm7 ’ Gm7 ’ C7 ’(Abmaj7’ ’ ’)

Two progressions are played more often than any others in jazz performances: the twelve measure bluesand “Rhythm Changes.” The forms for these two tunes allow for much freedom of expression withtempo and style. They both lend themselves to numerous harmonic possibilities. The variety of progres-sions can fit any number of moods, tempos and rhythmic settings. Blues may occur in all major andminor keys and Rhythm Changes may occur in any major key. The most prevalent keys for both are Bband F major. Here are the some basic harmonic progressions for blues in F major and minor and forRhythm Changes in Bb major with common substitutions. These progressions should be transposed andstudied for other commonly performed keys.

HARMONIC SUBSTITUTIONS for BLUES in F Major

Jazz musicians rarely use the three chord blues common to rock ‘n’ roll or country. A rock ‘n’ roll orcountry version of the basic blues would have a V chord in m.9 followed by a IV chord in m.10. In mostjazz performances, the ii7 - V7 progression is used. The barest jazz version of the blues progression isshown below. The most important structural points are:

• Usually begins on some chord built on tonic degree. It may be a modal chord and not nec-essarily a I chord in the major/minor traditional sense

• m.5 almost always includes a chord built on the fourth scale degree

• m.9-10 is a dominant area with either a V - IV (country, rock, simple jazz versions), ii7 - V7,or V7/V - V7 or other variations

• MM.11-12 may have some kind of a turnaround to return to I at the top of the form. Thetonic chord will not necessarily be a part of that turnaround as iii7 and other chords maysubstitute for I.



BARE MINIMUM JAZZ BLUES

F ’ ’ ’ ‘ ‘ F7 ’ ’ ’1

Bb7 ’ ’ ’ ‘ F ’ ’ ’ ‘5

Gm7 ’ ’ ’ C7 ’ ’ ’ F ’ ’ ’ ‘9

The progression below is a more common version for improvisation in jazz performance. There is typi-cally a departure in m.2 to some chord built on the fourth degree. A secondary V7/IV may occur in m.4setting up the chord in m.5. A G#°7 in first inversion moves the bass note from Bb to Bn and then to theC with the F chord in inversion in m.7. The diminished chord in m.6 is often labeled a B°7. In m.8, asecondary dominant chord D7 (V7/ii) prepares the coming ii7 chord. The most common turnaroundoccurs in the last two measures: I - V7/ii - ii7 - V7 returning to the top of the form.

BASIC JAZZ BLUES with COMMON HARMONIC ADDITIONS

F ’ ’ ’ Bb7 ’ ’ ’ F ’ ’ ’ F7 ’ ’ ’1

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F/C ’ ’ ’ D7 ’ ’ ’5

Gm7 ’ ’ ’ C7 ’ ’ ’ F ’ D7 ’ Gm7 ’ C7 ’9

Measures 1-4

A common addition is the ii7/IV - V7/IV in m.4:

F7 ’ ’ ’ Bb7 ’ ’ ’ F7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

A ii7 - V7 in m.2 provides another variation of the slight departure from the I chord:

F7 ’ ’ ’ Gm7 ’ C7 ’ F7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

Sometimes the tritone substitute dominant can occur in m.2. A tritone substitute dominant may also oc-cur in m.4:

F7 ’ ’ ’ Gb7 ’ ’ ’ F7 ’ ’ ’ Cm7 ’ Cb7 ’ Bb71 5

Here is a progression that Charlie Parker suggested in a example shown earlier. The Gm7 - G#°7 - Am7elaborates the tonic F area.

F7 ’ ’ ’ Gm7 ’ G#°7 ’ Am7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

Sometimes a logical progression can be created by backing up from the destination. The destination ofall harmonic activity in the first four measures points to a chord built on the fourth degree occurring inm.5. The ii7/IV - V7/IV (Cm7 - F7) in m.4 prepare the Bb in m.5. The Cm7 is tonicized by its dominantG7, and the G7 can be preceded by the iii7 chord, Dm7 in m.3. The Dm7 chord is set up by the iiø7/vi -



V7/vi, Eø7 - A7 in m.2. The strong bass line of descending fifths begins the progression with the I - IV inm.1. As with all harmonic possibilities, consider the desired results and context. These changes are con-sidered “pretty” chords and would not be the best choice if trying to create “down ‘n’ dirty” blues.

F ’ (Bbmaj7) ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’ Bb71 5

The concept of backing up from a destination is taken to the extreme in this example. Each dominantchord points down a fifth to the next and ultimately resolves to the expected Bb chord in m.5. This set ofchanges creates a great deal of melodic and harmonic tension, and may not be a good choice for a firstor second chorus. After a few choruses, this idea can wake up the entire band. The first dominant chordis a half-step above the expected F7.

F#7 ’ B7 ’ E7 ’ A7 ’ D7 ’ G7 ’ C7 ’ F7 ’ Bb71 5

Measures 5-8

This common version of the second phrase suggests an ascending bass line: Bb - Bn - C - D then resolvesdown a fifth to the ii7 chord. Why not call the G#°7/B a B°7? The G#°7 is the vii°7 of Am, a key that isclosely related to the key of F. The B°7 is the vii°7 of C minor, a much more remote key to the key of F.Labeling the chord as G#°7/B makes the distinction. (It would be possible to use B°7 in this context orother colorations, but vii°7/iii is the path of least resistance.)

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ D7 ’ ’ ’ Gm75 9

It is possible to precede the V7/ii with the iiø7/ii in m.8:

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ Aø7 ’ D7 ’ Gm75 9

The iiø7/ii, Aø7, can occur in m.7 before the V7/ii, D7 in m.8. It might be hard to distinguish the Aø7from an F9 chord as they share four pitches, and if the bass player chooses to play the F chord in firstinversion, it will sound like an Aø7.

Bb7 ’ ’ ’ ‘ Aø7 ’ ’ ’ D7 ’ ’ ’ Gm75 9

The secondary dominant A7, the V7/vi, can be used to set up the D chord. The A7 points to D minor,which becomes D7 in m.8. The A7 chord in first inversion continues the ascending step progression asshown before by adding the chromatic C#. The A7 chord is more common in slower gospel style blues.

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F/C ’ A7/C# ’ D7 ’ ’ ’ Gm75 9

A more bebop style setting may include a series of chromatic ii7 - V7 chords often inserted in mm.6-8.

Bb ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ D7 ’ Abm7 ’ Db7 ’ Gm75 9

A series of descending dominant chords may be used in mm.7-8. The D7 is the V7/ii. The Eb7 is a tri-tone substitute for the A7, the V7 of D. The E7 points to the A chord which could have been used inplace of the Eb7. This cycle is similar to the cycle that began on F#7 shown for the first four measures.



Instead of the dominants progressing in downward fifths, they progress to their destination in downwardhalf steps by using tritone substitutions.

Bb7 ’ ’ ’ ‘ F7 ’ E7 ’ Eb7 ’ D7 ’ Gm75 9

Measures 9-10

The most typical progression in mm.9-10 is the ii7 - V7:

Gm7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A V7/V may replace the ii7 chord:

G7 ’ ’ ’ C7 ’ ’ ’ F

9 11

Chords may be borrowed from the parallel minor key of F minor. A iiø7/i and V7/I suggest the key offour flats:

Gø7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A Db7 chord is the tritone substitute for the G7, the V7/V:

Db7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A Gb7, the tritone substitute dominant can replace the C7:

Gm7 ’ ’ ’ Gb7 ’ ’ ’ F

9 11

Measures 11-12: The Turnaround back to the top

The most common turnaround is I - V7/ii – ii7 – V7:

F7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1

The I chord may be avoided in m.11 by using the iii7:

Am7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1

The iiø7/ii can precede the V7/ii and replace the I or iii7 chord. The Aø7 chord is very similar to theF9 chord and is indistinguishable from an F7 chord in first inversion.

Aø7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1



An A7 can be used to point to the D7. The Ab7 and Gb7 chords are tritone substitutes for the D7 and C7.This creates a descending chromatic line in the bass.

A7 ’ Ab7 ’ Gm7 ’ Gb7 ’ F

11 1

Eb7 and Db7 are tritone substitutes for the A7 and G7. This creates another descending chromatic line inthe bass.

Eb7 ’ D7 ’ Db7 ’ C7 ’ F

11 1

Using the tritone substitutes for D7, G7 and C7 creates a cycle of tritone substitute dominants and a bassline of descending fifths that finally resolves down a half step to the F.

F7 ’ Ab7 ’ Db7 ’ Gb7 ’ F

11 1

Measures 9-12 Tritone Substitution Implications from bass lines

The tritone substitutions may be implied by the nature of a walking bass line. The D7, G7, C7 and F7chords are preceded by chromatic upper neighbor tones, which suggest the tritone substitutions asshown.

&

?

b

b

..˙ œœn

9

œ œ œ œbGm7 Db7

..˙b œœb

10

œ œ œ œC7

˙# ˙n#

11

œ œb œ œbA7 Eb7 D7 Ab7

˙nn ˙b

12

œ œb œ œbG7 Db7 C7 Gb7

œœb

13

œF7

“WEST COAST” or “PRETTY” BLUES

The blues progression below is sometimes called the “pretty” or “West Coast” blues. This progressionmay occur for the whole form if agreed upon ahead of time. It can sometimes be used as the last chorusor two of a longer solo ending with a more elaborate chord progression. The I chord moves down afifth to the IV chord. The IV chord moves down a diatonic fifth to the Eø7, the viiø7 of F, but function-ing as the iiø7/vi moving to the V7/vi. The Dm7 is the vi7 and naturally moves to the V7/v. The Cm7 -F7, ii/IV - V7/IV set up the Bb m.5. The second phrase is a series of descending chromatic ii7 - V7 pro-gressions finally reaching the ii7 - V7 in the key of F in m.9. The last four measures are usually playedwithout too much alteration from the common blues progression.

F ’ (Bbmaj7) ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’1

Bb ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ D7 ’ Abm7 ’ Db7 ’5

Gm7 ’ ’ ’ C7 ’ ’ ’ F7 ’ D7 ’ Gm7 ’ C7 ’9



HARMONIC SUBSTITUTIONS for BLUES in F Minor

There are a number of harmonic variations for minor blues. Minor blues share similar characteristicswith major blues including the chord in m.5 being built on the fourth degree and dominant area inmm.9-10. The chords are usually drawn from diatonic chords of minor keys.

Common Minor Blues Progression including a secondary iiø7/iv - V7/iv in m.4:

Fm ’ ’ ’ Bbm7 ’ ’ ’ Fm ’ ’ ’ (Cø7) ’ F7 ’1

Bbm7 ’ ’ ’ ‘ Fm ’ ’ ’ ‘5

Gø7 ’ ’ ’ C7 ’ ’ ’ Fm ’ ’ ’ Gø7 ’ C7 ’9

This minor blues progression includes iiø7 - V7 departure in m.2 instead of the iv7 chord. The Gb7 inm.6 is a tritone substitute dominant preparing the return of the Fm chord in m.7. Db7 is a tritone substi-tute dominant functioning in the traditional sense, as an augmented sixth chord pointing to the V7. TheV7 sets up the return of the Fm chord in m.11. The turnaround includes the tritone substitute dominantsAb7 and Db7.

Fm ’ ’ ’ Gø7 ’ C7 ’ Fm ’ ’ ’ (Cø7) ’ F7 ’1

Bbm7 ’ ’ ’ Bbm7 ’ Gb7 ’ Fm ’ ’ ’ ‘5

Db9 ’ ’ ’ C7 ’ ’ ’ Fm ’ Ab9 ’ Db9 ’ C7 ’9

This minor blues progression remains on the tonic pitch for the first few measures and suggests an innerchromatic voice: C – Db – D – Eb. The chord in m.2 sounds like a VI chord in first inversion, but is oftennotated as Fm#5. Obviously, a minor chord by definition has a perfect and not an augmented fifth, butthe Fm#5 shorthand in this context may help suggest the chromatic moving voice. The F7 in m.4 pre-pares the iv7 chord in m.5. The iv7 is also the ii7 chord in the relative Ab major (bIII) and continues tocycle in the key of Ab, through the V7/bIII - I/bIII - IV/bIII. The Gø7, even though shared by the two keys ofF minor and Ab major signals the return to F minor.

Fm ’ ’ ’ Db/F ’ ’ ’ Fm6 ’ ’ ’ F7 ’ ’ ’1 (Dø7/F)Bbm7 ’ ’ ’ Eb7 ’ ’ ’ Abmaj7 ’ ’ ’ Dbmaj7 ’ ’ ’5

Gø7 ’ ’ ’ C7 ’ ’ ’ Fm ’ Ab9 ’ Db9 ’ C7 ’9



The boundaries of the blues have been stretched very far as evidenced by these next two examples.These harmonic progressions are for specific tunes and not standard blues substitutions.

This first progression could be considered a blues progression that wanders to remote keys and back inthe short twelve measure form. Some may argue this is not a blues progression, but it is a twelve measureform that moves to a chord built on the fourth degree in m.5. In performances of this piece, improvisersuse only this progression, never inserting traditional blues progressions.

Cmmaj7 ’ ’ ’ ‘ Gm7 ’ ’ ’ C7 ’ ’ ’1

Fmaj7 ’ ’ ’ ‘ Fm7 ’ ’ ’ Bb7 ’ ’ ’5

Ebmaj7 ’ ’ ’ Ebm7 ’ Ab7 ’ Dbmaj7 ’ ’ ’ Dø7 ’ G7 ’9

The first five measures of the following blues progression behave as a typical blues, establishing thetonic key area first and then moving towards the iv7 chord in m.5. Things change quickly from m.6. TheAbm7 - Bb7 - Cbmaj7 are the iv7 - V7 - and VImaj7 chords from the remote key of Ebm. The Bbm7 and A7act as a ii7 and tritone substitute V7 to the key of Ab, but the Ab chord is a suspended dominant in thekey of Db. Order seems restored with the Fø7 - Bb7, the iiø7 - V7 to Eb minor, but wait, isn’t this blues is inC minor? The last measure brings it back around to the top and the tonic key with the V7/V - V7. In aperformance of the piece from which this progression was extracted, the improvisers use these changesfor the melody and only the last few choruses of each improvisation. Other improvised choruses useone of the standard minor blues progressions.

Cm7 ’ ’ ’ D7 ’ G7 ’ Cm7 ’ ’ ’ C7 ’ ’ ’1

Fm9 ’ ’ ’ Abm7 ’ Bb7 ’ Cbmaj7 ’ ’ ’ Bbm7 ’ A7 ’5

Absus7 ’ ’ ’ Fø7 ’ Bb7 ’ Ebm7 ’ ’ ’ D7 ’ G7 ’9

HARMONIC SUBSTITUTIONS for RHYTHM CHANGES

The form for Rhythm changes is AABA. There are numerous possibilities for harmonic variations. A fewof the more common variations and substitutions are examined below, phrase by phrase.

A SECTION

Measures 1-4

This basic pattern for the first four measures uses the diatonic vi7 chord Gm7 in m.1, and substitutes thesecondary V7/ii chord G7 in m.3. All the chords cycle back to the tonic chord Bb.Bb Gm7 Cm7 F7 Bb G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5



A strong cadence to the tonic chord is avoided in m.3 by using the tonic chord in first inversion.Because of the inversion, the roots descend in fifths in mm.3-5.

Bb G7 Cm7 F7 Bb/D G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

The iii7 chord functions in the same way the first inversion tonic chord did in the previous example. Itavoids the strong immediate return to tonic and keeps the root progression in fifths.

Bb G7 C7 F7 Dm7 G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Occasionally, the iii7 chord will chromatically pass through a C#m7 chord resolving to Cm7. This chordhappens quickly and may sound like a brief allusion to B major as C#m7 is the ii7 of B. Even if therhythm section plays the G7 the dissonant notes will resolve themselves in a linear fashion. The C#m7pitches, C#, E, G# and B may sound like the #11, 13, b9 and major third of the G7 chord whose place ittakes.

Bb G7 Cm7 F7 Dm7 C#m7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

An interesting bass line can be created using secondary dominants in inversion. The G7 is V7/ii. The A7is the V7/iii and points to the Dm7 chord standing in place of the original tonic chord Bb. After the as-cending chromatic line Bb-Bn-C-C#, the roots again move in descending fifths back to the tonic chord.

Bb G7/B Cm7 A7/C# Dm7 G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

There is little difference between the use of secondary dominants or secondary vii°7 chords when point-ing to minor keys. A G7 or B°7 points to Cm7, and an A7 or C#°7 points to Dm7. The secondary vii°7chords create the same ascending bass line as the example above with inverted secondary dominants.

Bb B°7 Cm7 C#°7 Dm7 G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

This passage contains secondary dominants and tritone substitutions. The Db7 stands in the place of G7.The C7 is the V7/V and points to the F7 chord. The Cb7 is the tritone substitute for the F7 and pointsback to Bb. The second two measures reverses the secondary dominants and the tritone substitutions.The Gb7 substitutes for the C7 and points to the F7.

Bb Db7 C7 Cb7 Bb G7 Gb7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Clifford Brown used this progression for a composition. The Db7, Gb7 and Cb7 are tritone substitutes inthe first two measures. The second phrase features descending dominants.



Bb Db7 Gb7 Cb7 Bb7 Ab7 Gb7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

It is possible to work backwards from the Bb in m.5 and to find a cycle of dominants. This, like the simi-lar example in the blues progressions, starts the progression on a chord very remote from the key signa-ture. This can be effective later in an improvisation, but is usually not used in the first chorus.

F#7 B7 E7 A7 D7 G7 C7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

It is possible to impose a progression similar Coltrane’s Giant Steps harmonic cycle (progression no.24). This progression points to remote rather than closely related keys. Closely related keys are one ac-cidental removed from the home key. Coltrane modulated to keys that divided the octave into majorthirds. From the home key of Bb, the progression modulates to Gb and D.

Bb Db7 Gb A7 D F7 Bb Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Measures 5-8

There is usually a modulation in m.5 to the IV chord in m.6. The tonic chord changes quality and be-comes the V7/IV which anticipates the Eb in m.6. The bass line ascends to En but the chord is labeled aC#°7 as the vii°7/iii7. The Bb chord in m.7 could just as easily be a Dm7 which helps explain the C#°7.The basic turnaround figure returns in mm.7-8. The second chord in m.5 is often in first inversion creat-ing the ascending bass line: Bb - D - Eb - En - F.

Bb Bb7/D Eb C#°7/E Bb/F G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9

This version of mm.5-8 features a descending bass line: Bb - Ab - G - Gb - F:

Bb Bb7/Ab Eb/G Ebm/Gb Bb/F G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9

A ii7/IV - V7/IV could be used in m.5 and Ab7, a backdoor dominant, can be used in m.6.

Fm7 Bb7 Eb Ab7 Bb/D G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9



Measures 5-6

Any combination of chords which point to IV may be used in m.5: A tritone substitute dominant may be

preceded by a V7/IV: or the ii7/IV:

Bb7 E7 Eb Fm7 E7 Eb’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 6 5 6

Measures 7-9

Any variation of the basic turnaround figure may occur in mm.7-9 to return the progression to the tonicchord at the beginning of the second A section.

Diatonic chords:

Bb Gm7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

The first inversion of the tonic chord followed by the V7/ii:

Bb/D G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

The secondary chords iiø7/ii and V7/ii point to the ii7:

Dø7 G7 Cm7 F7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

Tritone substitute dominants in place of G7 and F7:

Bb Db7 C7 Cb7 Bb’ ’ ’ ’ ’ ’ ’ ’ ’

7 9



Measures 15-17

The last two measures of the second A section, mm.15-17, are different than the end of the first A sec-tion. This part of the progression resolves back to the tonic chord in m.16 and before moving to the Bsection.

F7 Bb D7

’ ’ ’ ’ ’ ’ ’ ’ ’15 17

Bb/F F7 Bb D7

’ ’ ’ ’ ’ ’ ’ ’ ’15 17

B SECTION: Measures 5-8

The bridge is a variation of the traditional turnaround chords with longer harmonic values. The mostbasic turnaround progression is Bb - Gm7 - Cm7 - F7. With the iii7 chord in place of the Bb chord itwould be Dm7 - Gm7 - Cm7 - F7. Using all secondary dominants would be D7 - G7 - C7 - F7, the identi-cal chords for the basic B section. In the A sections the chords occur with a half note harmonic rhythm;in the B section each chord lasts for eight beats.

When encountering a D7 in the key of Bb, it is normally the V7/vi pointing to the relative G minor. TheG7 would be assumed to be the V7/ii pointing to the Cm7 chord. It is possible to mix modes making theD7 the V7 of G (V7/VI) and the G7 the V7 of C (V7/II.). An improviser may choose any number ofcombinations using these dominant chords to point to major or minor secondary keys.

The basic bridge : V7/VI - V7/II - V7/V - V7.

D7 ‘ G7 ‘ C7 ‘ F7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

Any dominant chord may be paired with a ii7 chord.

Am7 D7 Dm7 G7 Gm7 C7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17

The G7 is replaced by the tritone substitute dominant Db7 and the F7 replace by the tritone substitutedominant Cb7 creating a descending chromatic line in the bass in the example below.

D7 ‘ Db7 ‘ C7 ‘ Cb7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17



The D7 is replaced by the tritone substitute dominant Ab7 and the C7 replace by the tritone substitutedominant Gb7 creating a different descending chromatic line in the bass in the following example .

Ab7 ‘ G7 ‘ Gb7 ‘ F7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

The cycle of dominants with tritone substitutions from the above example can be preceded by ii7chords. This creates a descending chromatic progression in three keys (bIII, II, and bII) leading back tothe tonic key of I, Bb.Ebm7 Ab7 Dm7 G7 C#m7 F#7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17 ii7/bIII V7/bIII ii7/II V7/II ii7/bII V7/bII ii7 V7

Another set of chromatically descending dominants may be preceded by ii7 chords creating this de-scending chromatic progression. After descending through the keys of G, Gb, and F, the B7 can act as atritone substitute dominant pointing back to the tonic key of Bb.Am7 D7 Abm7 Db7 Gm7 C7 F#m7 B7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17 ii7/VI V7/VI ii7/bVI V7/bVI ii7/V V7/V ii7/bV V7/bVThis is a less common, but possible B section progression that utilizes a series of descending chromaticii7 - V7 progressions. It begins in A, and goes through Ab, Gb, F, and E major. Again the B7 chord in m.24acts as a tritone substitute dominant pointing back to the tonic key of Bb. The harmonic progression isrhythmically compressed as the progression moves forward. The original B section changes were a re-prieve from the crowded, fast harmonic rhythm of the A section. It is ironic how jam-packed chords theprogression in the B section can become.

Bm7 E7 Bbm7 Eb7 Am7 D7 Abm7 Db7 Gm7 C7 F#m7 B7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17

There are a few tunes that have a different sort of eight measure B section that begins with the V7/IVand moves to the IV, the V7/V and V7 chord before returning to the tonic chord at the beginning of thelast A section.

Bb7 ‘ Eb ‘ C7 ‘ F7 ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17



COMPLETE RHYTHM CHANGES PROGRESSION

Here is a possible set of chord changes for the entire progression. This is not THE version, only one ofmany possible variations.

Bb G7 Cm7 F7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’1

Bb Bb7/D Eb Ab7 Dm7 Db7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’5

Bb B°7 Cm7 C#°7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’9

Fm7 Bb7 Eb C#°7/E Bb/F F7 Bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

13

Am7 D7 Dm7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17

Gm7 C7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’21

Bb G7 Cm7 F7 D7 G7 C7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’25

Fm7 E7 Eb C#°7/E Bb/F F7 Bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

29



STANDARD TUNE APPLICATION

Here is a very simple progression from a tune performed by everyone from Bobby Darrin to SonnyRollins. The basic diatonic chords are I, ii7, V7, and vi7 as shown below. Fill in the blanks using typicalharmonic progressions pointing to the given destinations. At the *, use a tritone substitute and at the ‡,use a deceptive diminished chord from half step above.

Progression no. 39

Bb ________ ________ ________ Cm7 ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’1

Cm7 ________* F7 ________* Bb ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’5

Gm7 ________‡ Cm7 ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’9

Cm7 ________* F7 ________* Bb ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17



Progression no. 39 with harmonic additions.

Bbmaj7 Ebmaj7 Dø7 G7 Cm7 Dø7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’1 IV iiø7/ii V7/ii iiø7/ii V7/ii

Cm7 Gb9* F7 C b9* Bb Ebmaj7 Aø7 D7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’5 IV iiø7/vi V7/vi

Gm7 C#°7‡ Cm7 Dø7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’9 iiø7/ii V7/ii

Cm7 Gb9* F7 C b9* Bb G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’17 V7/ii ii7 V7

SUGGESTED EXERCISES

• Augment other common harmonic progressions using secondary dominants, work-ing back from a specific harmonic point.

• Find recordings and compare the harmonic structures with other recordings of thesame music

• Compare different published versions of the same music

• How do recorded performances compare with published versions of the harmony?

• Compare the harmonic vocabulary between different improvisers on the samerecording of a tune? Does the same improviser approach similar sections with thesame harmonic progressions? Do all the improvisers approach the music using thesame harmonic progressions?

• Examine melodic transcriptions and compare the relationship of the melodies tothe underlying harmony. Was the improviser adhering to all the harmonic implica-tions? Were sections being generalized? Were certain chords ignored? Were otherharmonic substitutions suggested by the lines?

Chapter 9 Harmonic Specificity 179


IX. HARMONIC SPECIFICITY

SPECIFICITY & GENERALIZATION

Melodies that utilize the identifying pitches of individual chords as guide tones, arpeggiate the chords,and comply with voice leading principles are considered to be harmonically specific. Melodies that ig-nore the specific implications of the harmony and use the primary pitches of the tonic triad with somediatonic and chromatic embellishment are considered to be harmonically general.

Forms like the blues, rhythm changes and other tunes that stay in closely related keys allow improvisersto generalize using the tonic triad or notes of the tonic key for melodic material. The tonic triad andscale may be elaborated with chromatic embellishment. Expressive melodies may be created using thisgeneralization technique and the melodic material may or may not align exactly with the harmonic ma-terial. Harmonic generalization is only one approach to improvisation. Another approach is to specifi-cally address the harmony where the melodic material correlates with the harmonic material. With agood understanding of individual chord structures and the tones necessary to modulate from one key tothe next, an improviser can create expressive melodies that use the dramatic elements of functionalharmony as a guide for melodic material.

These two examples will help illustrate the distinction between harmonic general and harmonic specificmelodic approaches. This turnaround progression from rhythm changes stays in or close to Bb majorfor the entire phrase allowing for harmonic generalization. All of the melodic material in the first ex-ample from an improvisation by Kenny Dorham was based on the Bb major triad notes (circled) elabo-rate in various ways. If the line was played without accompaniment, it is unlikely that any harmonic pro-gression would be inferred by the listener. It would likely sound like Bb major for the entire phrase. TheG7 as V7 of ii calls for an Ab (from the key signature for C minor) and an Bn leading tone, yet themelodic line ignored these implications. None of the individual chords were arpeggiated.

9.1 Harmonic Generalization

& bb c Ó œ œ œ œBb G7 œ# œ œ# œn œ œ œnCm7 F7

œ œ3

œ œ œ jœ .œDm7 G7

˙Cm7 F7

This second line from the same improvisation specifically addressed individual chords in the progres-sion. It began as exactly as the last line, ignoring the implications of the G7 and Cm7. Dorham shifted toa more specific approach in the third measure. The two notes, Bn and Ab, suggested by the G7, the V7 ofC minor, were played. These notes were not available from the key of Bb. Dorham played a 3-5-7-b9arpeggio over the G7 chord and came down the scale to the F, the seventh of G7. The F resolved in thenext measure to the third of Cm7 and the line continued down the scale landing on the third of F7 andthe third of Bb. These thirds occurred directly on the downbeat, were approached by the seventh of thechords that preceded them; the melody line was directly related to the indicated harmony. Dorhamused a 3-5-7-9 arpeggio again in the fifth measure for the Bb7 chord, the V7/IV, and used the note Ab,necessary for modulating to Eb. The Eb chord was arpeggiated, and the C#°7 was clearly outlined. The line

180 Chapter 9 Harmonic Specificity


ended with another 3-5-7-9 arpeggio over the Bbmaj7 chord. The use of both general and specific ap-proaches is one of the elements that makes this an interesting improvisation.

9.2 Harmonic Specificity

& bb c Ó œ œ œ œBb G7

œ# œ œ œn œ œ œb œnCm7 F7

œ œ œn œ œ œb œ œDm7 G7

œ œ œ œ œ œ œ œCm7 F7

& bb œ œ œb œ œ œ œ œBb7

œ œ œ œ œ# œ œb œnEb C#°7/E

œ œ#3

œ œ œ œ œ ŒBb

∑

3 3 3

3

arpeggio

arpeggio

arpeggio arpeggio

Harmonic specific melodies may incorporate all variety of embellishing tones while addressing thepitches that identify the harmony.

GUIDE TONES

Guide tones are an underlying simple structure from which lines of greater complexity may be created.They are tones that specifically identify the chords and the notes that point to those chord tones. Theguide tones are the dots in the dot-to-dot drawings and the melody connecting them reveals the wholepicture. For every chord there is often one single pitch that when sounded over a bass line in contextclarifies the quality of the chord. If a major chord can be distinguished from a minor chord it is be-cause of one pitch: the mediant. If a major third is heard, the chord is major; a minor third indicates aminor chord. The third can be used in a melodic line to clarify the chord quality. Sing the melody toThree Blind Mice. If it sounds major, it is because of the major third in the melody. It is the minor thirdin the melody line that makes Greensleeves sound minor. Harmonically specific lines clarify the majorand minor qualities of chords. If the quality of the chords can be identified when listening to a melody,it is these significant guide tones that reveal those qualities. To use guide tones is to use the identifyingpitches of the harmonic progression. If one harmonic progression can be aurally distinguished fromanother it is because of these tones. Guide tones are not just a theoretical discussion, they are the verynotes which guide the listener and the performer through a piece.

Great melodies can exist independent of harmonic implications, but melody and harmony are often areinextricably related. Harmony, so often taught as strictly a vertical entity, is historically a result ofmelodic lines. The premise of voice leading is that the individual voices lead somewhere: each voicehas a linear implication. As soon as a line begins or stresses a chord tone, there is a linear expectationconnected with that note. Melodies do not always have to continue to follow their expected harmonicpath, or all melodies would be so predictable that no one would listen. Composers and improvisers areaware of the natural tendencies and expectations connected to voice leading. They are also aware thatthe audience will respond to these principles intuitively whether or not the audience is musically edu-cated. The composers and improvisers will give the listener at times what is expected and at other timesset them up for a surprise. The only way a musical surprise works is that the listener on some level hasan expectation about where notes should resolve. Musicians who understand the expectations can ma-nipulate them for interesting improvisations or compositions. Most melodies create a balance betweena line that follows the expected resolutions dictated by voice leading principles and a line that departsand is independent from those expectations. The ability to understand and hear the lines suggested byindividual notes of the harmony is a necessary skill in order to successfully negotiate the harmonic pro-gressions in jazz literature.



BASS LINES as GUIDE TONE LINES

The simplest example of a using guide tones to create larger lines is the bass line in four beat swing feel.The bass at its most basic level plays the chord roots (the guide tones) on the downbeats signified bythe chord symbols, then improvises three notes to get to the next chord. Guide tone melodic lines in-volving other voices will be easier to understand after examining bass line construction.

The bass line is expected to be harmonically specific. The bass does not wander aimlessly randomlygeneralizing the key area. A well constructed bass line:

• Arrives on the roots of chords at the times signified by chord symbol placement in the music.

• Fills in notes that adhere to the chord quality and key signature to take the line to the next root.

• Plays chord tones typically on the stronger beats one and three.

• Precedes the roots with notes that are usually a step away. It can be diatonic or chromatic fromabove or below.

• May slightly accent beats two and four which correspond with the hi-hat pattern played by thedrummer in a swing feel.

• After addressing the first principles, other characteristic rhythmic elements may be added.The role of the bass is to accompany. The primary goal should be rhythmic and harmonic clarity. Basslines can be found that stray from the clear harmonic path, but often quickly return providing a strongfoundation for the rest of the ensemble.

FUNDAMENTAL BASS LINE PATTERNS

The fundamental bass line patterns on the following page can be used to create bass lines with rhythmicand harmonic clarity. These examples are shown over a ii7 - V7 in the key of Bb major.

1. The most basic pattern is the descending scale. No chromatic notes are needed.2. Another basic pattern moves up the scale and may use a chromatic passing tone (CPT) to lead

to the root of the next chord.3. The ascending scale pattern may leap over the goal note and step into it from its upper neigh-

bor tone (UNT).4. If the line does not move in steps, then it may move in leaps. The arpeggio allows for harmonic

clarity and some larger intervals than steps. After the ascending arpeggio, it may approach thenext root through a chromatic passing tone.

5. The arpeggio may be inverted. The leap down creates more interest following measures of juststep motion.

6. Descending arpeggios may be followed by a chromatic passing tone into the next root.7. The arpeggio may also be inverted or broken, skipping over one tone to reach the next.8. The constant stream of steps and leap may be interrupted by a pattern using the upper neighbor

tones. (From personal experience at faster tempos, this pattern can save a fatigued bassist.)9. Repeated notes can also provide a reprieve from constant motion.10. This simple pattern should not be avoided. It can prove very useful and effective musically.

Roots and fifths are the bass players primary tools. (OK, OK, here’s the joke: How many bassplayers does it take to change a light bulb? One . . . Five . . . One . . . Five . . . )



TEN BASIC PATTERNS for BASS LINES

1. Down Scale 2. Up Scale + CPT

? bb cœ œ œ œCm7

œF7

? bb c œ œ œ œnCm7

œF7

3. Up Scale + UNT 4. Ascending Arpeggio + CPT

? bb c œ œ œ œCm7

œF7

? bb c œ œ œ œbCm7

œF7

5. Inverted Arpeggio + CPT 6. Descending Arpeggio + CPT

? bb cœ œ œ œb

Cm7

œF7

? bb cœ œ œ œn

Cm7

œF7

7. Inverted Arpeggio + CPT 8. UNT

? bb c œ œ œ œnCm7

œF7


œF7

9. Repeated Notes 10. Root & Fifth


œF7

? bb c œ œœ œCm7

œF7



Bass players can add rhythmic and textural interest to a line by adding notes in between the downbeats.This subdivision corresponds to the ride patterns played by the drums. These notes may be ghosted ormuffled in a way that makes them more percussive. These notes are shown as “¿” in the following exam-ples.

9.3 9.4

? bb c œ œ ¿ œ œn ¿Cm7

œF7

? bb œ œ ¿ œ ¿ œbCm7

œF7

Rapidly played arpeggios can add some interest to a bass line. These notes are not exactly articulatedand may be ghosted and played percussively.

9.5

? bb3

œ œ œ œ œ œnCm7

œF7

At least ten thousand different lines can be played over the common turnaround pattern below usingthe ten fundamental bass patterns shown previously. (Each measure could have one of the ten patternsso that 10 x 10 x 10 x 10, or 104 equals 10,000.) For practice, write out a few possibilities for the progres-sion below. Avoid repeating the same pattern too many times in a row. Try occasionally substituting anEm7 for the C chord Bass players should write and learn to play several versions for at least the com-mon keys of C, F, Bb, and Eb. Here is possible solution:

9.6Pattern nos. 5 8 6 2

? c .. ..œ œ œ œ#Cmaj7

œ œb œ œA7

œ œ œ œ#Dm7

œ œ œ# œG7

The progression can be inverted so that it starts on the ii7 chord. Write out a few possibilities for thisprogression in C and other common keys. Here is possible solution:

9.7Pattern nos. 3 1 4 10

? c .. ..œ œ œ œbDm7 œ œ œ œ

G7

œ œ œ œ#Cmaj7 œ œ œ œ

A7



The previous examples were based on a harmonic rhythm of whole notes. When the harmonic rhythmis half notes, the root is played then the line jumps to the note above or below the next root. The rootsfor the following turnaround progression should be played on the downbeats as shown. There are up tofour pitches available in between each root: each root may be preceded from above or below with itschromatic or diatonic neighbor. The G could be preceded by F, F#; A or Ab; a Bb; Bn, D or Db could leadto the C; and F may be preceded by Eb, En, G or Gb.

9.8Roots on Downbeats With Added Approach Tones

? bb c œ œDm7 G7

œ œCm7 F7

? bb c œ œb œ œnDm7 G7

œ œ œCm7 F7

There are progressions where the chords occur in a variety of rhythmic values. For chords that last fortwo measures it is not necessary to land on the root in the second measure. Another chord tone can beplayed on the downbeat of the second measure. Chords occur in the following progression with threedifferent rhythmic values. The C and D last for eight beats, the Dm7 and G7 for four beats, and theturnaround chords change every two beats. The fifth of the chord is played in the second measure forboth the C and the D7 chords. Pattern no. 5 is used in m.5 and pattern no. 4 is used in m.6 for thechords with a whole note harmonic rhythm. The last two measures have a half note harmonic rhythmand the roots are preceded from above and then below by half step motion.

9.9

? c œ œ œ œ#C

œ œ œ œb œ œ œ# œD7

œ œ œ œ#

? œ œ œ œbDm7

œ œ œ œ#G7

œ œb œ œ#Em7 A7

œ œb œ œnDm7 G7

œC

R 5 R 5

244,140,625 BASS LINES for BLUES

The following pages show 244,140,625 bass lines for blues in Bb and F major. Each of the twelve measuresfor the blues form is shown with five possible bass line patterns. Any one of the five possible patterns ina given measure can move to any of the five patterns in the measure that follows. Several measures areshown with optional notes. The optional notes allow for octave displacement or chord inversions tomake smooth connecting lines. Since there are five patterns to choose from for every measure, the pos-sibilities are 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 or 512 which equals 244,140,625.

To create a twelve measure bass line, choose any of the five patterns for m.1, then pick any pattern fromm.2, and continue through the form. It is similar to a menu where you pick one from column A then onefrom column B, except with twelve columns. Always choose to step from the note on beat four to thenote on beat one. This is not to suggest that any bass player creates lines by imagining a charts likethese. The chart is meant as a tool for creating bass lines. There are many more possibilities than shownhere, but these patterns should get a bass player or an arranger started creating harmonically clear basslines.



9.10 244,140,625 Bass lines for Blues in Bb:

?

?

?

?

?

bb

b b

b b

b b

b b

c

c

c

c

c

œ œ œ# œBb7

œ œ œ œn

œ œ œ œnœ œb œ œ

1

œ œ œ œn

?

?

?

?

?

bb

bb

b b

b b

b b

œb œ œ œbEb7

œb œb œ œb

œb œ œb œn

œb œn œ œ

2

œb œ œ œb

?

?

?

?

?

bb

bb

b b

b b

b b

œœ œ œ œbBb7

œœ œ œ œnœœ œb œ œb

œœ œ œn œn

3

œœ œn œ œb

?

?

?

?

?

bb

bb

b b

b b

b b

œ œb œ œnFm7 Bb7

œ œb œ œ

œ œb œ œn

œ œ œ œ

4

œ œb œ œ

?

?

?

?

?

bb

bb

b b

b b

b b

œb œ œ œEb7

œb œ œ œ

œb œ œb œ

œb œ œ œ

5

œb œœ œ œ

?

?

?

?

?

bb

bb

b b

b b

b b

œn œ œ œC#°7/E

œn œ œ œb

œn œ œb œ

œn œ œ œ

6

œn œ œ œ#

?

?

?

?

?

bb

bb

b b

b b

b b

œœœ œn œ œ#Bb7

œœœ œ œ œb

œœ œ œ œ#œœœ œ œ œ#

7

œœœ œ œ œ#

?

?

?

?

?

bb

bb

b b

b b

b b

œ œn œ œbG7

œ œb œ œbœ œ œ œœ œn œ œb

8

œ œb œn œ

?

?

?

?

?

bb

bb

b b

b b

b b

œœ œ œ œnCm7

œ œ œ œbœœ œ œ œbœœ œ œ œ

9

œœ œ# œ œb

?

?

?

?

?

bb

bb

b b

b b

b b

œ œ œ# œF7

œ œ œ œb

œ œ œ œœ œ œ œ

10

œ œ œ œb

?

?

?

?

?

bb

bb

b b

b b

b b

œœ œb œ œbBb7 G7

œœ œ# œ œnœœ œb œ œn

œ( ) œ œ œbDø7

11

œ( ) œb œ œnDø7

?

?

?

?

?

bb

bb

b b

b b

b b

œœ œb œ œC7 F7

œœ œn œ œ

œœ œb œ œb

œœ œ œ œb

12

œœ œb œ œb



9.11 244,140,625 Bass lines for Blues in F:

?

?

?

?

?

b

b

b

b

b

c

c

c

c

c

œ œ œ# œF7

œ œ œ œn

œ œ œ œnœ œb œ œ

1œ œ œ œn

?

?

?

?

?

b

b

b

b

b

œb œ œ œbBb7

œb œb œ œb

œb œ œb œn

œb œn œ œ

2

œb œ œ œb

?

?

?

?

?

b

b

b

b

b

œœ œ œ œbF7

œœ œ œ œnœœ œb œ œb

œœ œ œn œn

3

œœ œn œ œb

?

?

?

?

?

b

b

b

b

b

œ œb œ œnCm7 F7

œ œb œ œ

œ œb œ œn

œ œ œ œ

4

œ œb œ œ

?

?

?

?

?

b

b

b

b

b

œb œ œ œBb7

œb œ œ œ

œb œ œb œ

œb œ œ œ

5

œb œœ œ œ

?

?

?

?

?

b

b

b

b

b

œn œ œ œB°7

œn œ œ œb

œn œ œb œ

œn œ œ œ

6

œn œ œ œ#

?

?

?

?

?

b

b

b

b

b

œœœ œn œ œ#F7

œœœ œ œ œbœœœ œ œ œ#œœœ œ œ œ#

7

œœœ œ œ œ#

?

?

?

?

?

b

b

b

b

b

œ œ# œ œbD7

œ œb œ œbœ œ œ œœ œ# œ œb

8

œ œb œ# œ

?

?

?

?

?

b

b

b

b

b

œœ œ œ œnGm7

œ œ œ œbœœ œ œ œbœœ œ œ œ

9

œœ œ# œ œb

?

?

?

?

?

b

b

b

b

b

œ œ œ# œC7

œ œ œ œb


10

œ œ œ œb

?

?

?

?

?

b

b

b

b

b

œœ œb œ œbF7 D7

œœ œ# œ œ#œœ œb œ œ#

œ( )œ œ œb

Aø7

11œ( )œb œ œ#

Aø7

?

?

?

?

?

b

b

b

b

b

œœ œb œ œGm7 C7

œœ œn œ œ

œœ œb œ œb

œœ œ œ œb

12

œœ œb œ œb



Five Chorus Blues Bass Line in Bb

Here is a five chorus bass line for Bb blues using only patterns from the previous pages. No two corre-sponding measures are the same; it uses each of the sixty patterns once. (I have done the first five, thatleaves only 244,140,620 for you to do.)

9.12

? bb c ..1

œ œ œ œnBb

œb œ œ œbEb7 œ œb œ œbBbœ œ œ œ

Fm7 Bb7

? bb5

œ œ œ œEb7

œn œ œb œC#°7/E

œ œb œ œ#Bb7 œ œb œ œb

G7b9

? bb9

œ œn œ œnCm7

œ œ œ œbF7

œ œb œ œbBb7 G7

œ œb œ œbCm7 F7

? bb13

œ œ œ œnBb

œb œb œ œbEb7

œ œn œ œbBbœ œb œ œ

Fm7 Bb7

? bb17

œ œ œb œEb7

œn œ œ œE°7 œ œn œ œ#Bb7 œ œn œ œ

G7b9

? bb21

œ œ œ œbCm7

œ œn œ# œF7 œ œb œ œnBb7 G7

œ œb œ œCm7 F7

? bb25

œ œ œ# œBb

œ œn œ œbEb7 œ œ œn œBbœ œb œ œn

Fm7 Bb7

? bb29

œb œ œ œEb7

œn œ œ œbE°7 œ œ œ œ#Bb7 œ œn œ œb

G7b9

? bb33

œ œ œ œbCm7

œ œn œ œF7

œ œ œ œbDø7 G7

œ œn œ œCm7 F7



? bb37

œ œ œ œnBb

œb œn œ œEb7

œ œ œ œnBb

œ œb œ œnFm7 Bb7

? bb41

œb œ œ œEb7œn œ œb œ

E°7

œ œ œ œbBb7 œ œb œn œG7

b9

? bb45

œ œ œ œCm7

œ œ œ œbF7 œ œ# œ œn

Bb7 G7

œ œ œ œbCm7 F7

? bb49

œ œ œ œnBb

œb œ œb œnEb7 œ œ œ œbBb

œ œb œ œFm7 Bb7

? bb53

œ œ œ œEb7

œn œ œ œE°7

œ œ œ œ#Bb7 œ œn œ œb

G7b9

? bb ..57

œ œ# œ œbCm7

œ œ œ œF7

œ œb œ œnDø7 G7 œ œb œ œbCm7 F7

GUIDE TONES APPLIED to MELODIC LINES

A melodic line and a bass line both follow guide tones but a melody line has more rhythmic andmelodic freedom. A bass line is in constant motion with consistent rhythms while a melody line stopsand starts, contrasting short and long phrases separated by all important silence.

A bass line begins a measure on a consonant note, the root, and moves to the more dissonant note atthe end of the measure. The dissonant note resolves to the next root on the following downbeat. Melodylines can follow guide tones lines in the same way aiming for a consonant note and moving towards adissonant note which resolves to a consonant note. The bass line is expected to arrive on the downbeat,but more liberty is allowed with the rhythmic placement of melodic guide tones: a guide tone note mayoccur on the down beat in time with the root in the bass line; it may be anticipated arriving on the up-beat of four or on beat four; it may be delayed by two beats or more, or delayed into the subsequentmeasure. Because of the rhythmic latitude allowed melodies, their harmonic relations must be analyzedhorizontally and not always vertically.

There are always twelve pitches available for melodic use, but they are used with respect to the hierarchyof pitches. There is a wide range of consonance and dissonance that may change from measure to mea-sure. The root, third and fifth of any given chord are the most consonant; the other four diatonicpitches represent one level of dissonance; and the five remaining chromatic tones represent anotherlevel of dissonance.



Assume a bass plays the root of a chord and an improviser plays one single melodic pitch over the bassnote. What single pitch will provide the most harmonic clarity? The five chromatic pitches not in thepresent key can be eliminated first. Of the remaining seven, the root of the chord is covered by the bass,so using the root in the melody would reveal nothing new. The chord tones are the obvious choice forclarity. The fifth of the chord certainly helps to establish the tonality, but by itself over the root in thebass, the fifth does nothing to reveal the quality of the chord. (The fifth would be heard as a result of thephysics of the harmonic series anyway). The third when played over the root in the bass provides animmediately recognizable chord quality. Two pitches, the root and the third can convey a completesounding chord quality. It is for this reason that the thirds are the most important guide tones.

Harmonic clarity provided by a single pitch over a the root in the bass:

9.13

&

?

c

c

wC

w

wbCm

w

When improvisers wish to be clear about the harmonic progression, they aim for the thirds over theroots played in the bass lines. Hank Mobley aimed for thirds in the example below. Mobley landed onthe third of Gm (Bb) and Cm7 (Eb) without any preparation. The third of F (A) was approach byascending scale steps. The third of the Dm7 (F) was approached from an upper neighbor. The third of G(Bn) was delayed until beat four, and the third of Cm (Eb) was delayed until beat three.

9.14

& bb c œ Œjœ ˙Bb Gm7 œ œ œ œ Œ ‰ Jœ

Cm7 F7 œ œ œ œ œ œ œn œDm7 G7

œ œn œ œ JœCm7

LINEAR IMPLICATIONS of HARMONY

What is meant by the term “chord changes?” It usually refers to a given chord progression or the writ-ten chords symbols. In any progression, some notes change between two adjacent chords and somepitches stay the same. Chord changes in the truest theoretical and aural sense refers to the notes thatchange between two chords. Melodic lines can emphasize the notes that stay the same or the notes thatchange. If a melodic line is to create the sense of harmonic motion, it must address the notes thatchange. A player who is “making the changes” addresses the notes that identifies the chords (consonantnotes: usually thirds) and finds the notes that move one chord to the next (dissonant notes that oftenpull towards the consonant thirds). The voices that lead to the next voice follow certain principles. Anypitch that is played over a harmonic progression has linear implications.

Guide tone lines may be created by following the given voice leading lines implicated by the harmonicprogressions. The guide tone lines are easy to hear and listeners intuitively follow them with a set of ex-



pectations. Melodic inventiveness is a result of manipulation, elaboration, rhythmic enhancement, andplayful departure from these paths.

When the roots of chords in a progression move in descending fifths, the most common root move-ment, it suggests specific voice leading principles. The voice leading principles can be stated simply:

• Thirds resolve to sevenths• Sevenths resolve to thirds• Fifths resolve to ninths• Ninths resolve to fifths

9.15

& c ˙ ˙Dm7 G7

3 7

wC

3

˙ ˙Dm7 G7

5 9

wC

5

˙ ˙Dm7 G7

7 3

wC

7

˙ ˙Dm7 G7

9 5

wC

9

There may be some variants on dominant chords.

• The ninths may be altered, so the n9, b9 or #9 (usually shown as its enharmonic equivalent)may be used. Any of the three ninths would still resolve to the fifth of the subsequent chordas shown below. The b9 and #9 pitches are associated with minor keys though they are freelyused in major keys to create more tension. The Ab and Bb pitches shown below could befrom the key of C minor, three flats.

• The fifth of a dominant chord may be replaced by a n13 or a b13, the #11 or b5. Any of thesesubstitute pitches behave as a fifth and resolve to the ninth of the subsequent chord. The b13is associated with a V7 in minor as the b13 is the minor third of the key. The Eb below couldbe from the key of C minor, three flats.

9.16 Dominant Variants

#9 or b9 for n9 n13 for n5 b13 for n5 #11/b5 for n5

& c ˙ œb œbDm7 G7

wC ˙ ˙Dm7 G7

wC ˙ ˙bDm7 G7

wC ˙ ˙#

Dm7 G7

wC

Not all voices change between chords. When ninth chords are moving in a typical cycle of fifths pro-gression, the roots in the bass change for each chord. Alternating pairs of voices resolve down stepwise.The E and C of the Dm9 move to the D and B of the G9 chord while the A and F remain stationary.Then the A and F of the G9 move to the G and E of the Cmaj9 while the D and B remain stationary.



9.17 Pairs of voices alternating motion

&

?

c

c

˙ ˙Dm9 G9

˙ ˙

wwwCmaj9

ww

9 moves to 5

7 moves to 3

5 becomes 9

3 becomes 7

5 becomes 9

9 moves to 5

7 moves to 3

3 becomes 9

An experienced improviser need not depend on a rhythm section accompanist to supply the harmonicfoundation (or the time). Harmony can be supplied as counterpoint between the single note bassagainst the single note melodic line. This can be accomplished by aiming for a consonant melodicpitch, usually the major or minor third, that clarifies the chord quality and then moving to a dissonantnote that creates motion by wanting to resolve to the consonant pitch for the next chord. The chordtone that most often generates the motion to the next chord is the seventh. The seventh needs to re-solve down, and when it does and the bass moving down by fifths, then the seventh will resolve to thethird of the next chord.

In this ii7 - V7 - I progression, the consonant note F, the third of the D minor, becomes the dissonantnote over the G7, then resolves down to the consonant third of C major. This is a basic guide tone line.

9.18 Basic Guide tone line beginning on third:

&

?

c

c

wDm7

w

wG7

w

wC

w

wC

w3 7 3

The more elaborate melodic line in ex. 9.19 follows the basic guide tone line shown from ex. 9.18. The Fis approached using scale tones. The high and low points of the Dm7 measure are chord tones with G asa passing tone. The E and the G on beat four point to the F of the G7 measure. After a large leap from Fto E, which is a step disguised by octave displacement, the step motion continues down the scale. Thelast four notes preceding the E are a broken arpeggio of a G7 chord. The F, the dissonant seventh, issaved for last to propel the line towards the E, the third of C.

9.19 More elaborate line based on Guide tone line:

& c œ œ œ œ œ œ œ œ œ œDm7

œ œ œ œ œ œ œ œG7

˙ ÓCmaj7

To create a guide tone line with more motion, the third may move to the seventh of the D minor chordwhich will resolve to the third of the G7 chord. The seventh of the G7 chord resolves to the third of theC major. Each measure begins with a stable tone, moves to a dissonant tone and resolves over the mea-sure line to a stable tone again.



9.20

&

?

c

c

˙ ˙Dm7

w˙ ˙

G7

w

wC

w

wC

w3 7 3 7 3

A bass line follows a guide tone line of roots in a fairly strict fashion: using quarter note rhythms andlanding on roots on the beat one of a measure. There is more freedom in the development of melodiclines from their guide tones: the range of rhythmic variations is endless; the line can be embellishedwith many more diatonic and chromatic notes; and the guide tones are not restricted to the downbeatsof measures. As long as the identifying pitches happen at significant places in the measure they willserve their function in the melodic line.

The two lines below were improvised by Tom Harrell and followed the guide tones shown above. In ex.9.21 the F did not occur on the downbeat and was approached from above. The Gb did not sound like anF#, the major third of D; it sounded like a chromatic passing tone. The C, the dissonant seventh, oc-curred just before beat four, so to avoid reaching the Bn too early, Harrell approached the B from belowusing a chromatic passing tone (A - A#). After playing notes borrowed from the parallel key of C minor(Eb, Ab, and Bb), Harrell played the seventh of G7 which resolved to the E on the downbeat of the Cmaj7measure. In ex. 9.22, Harrell approached the F from below using scale steps, the D was surrounded by itsupper and lower neighbors, followed by a leap past and then back to the dissonant C. The C resolved tothe B which Harrell placed on the strong first and third beats separated by chromatic and diatonicpassing tones. The line continued down the diatonic scale with the dissonant F resolving to the E overthe bar line. Both of these examples illustrate how flexible a line can be and still incorporate the guidetones.

9.21 Improvised lines that follow guide tone lines:

& c œ œb œ œ œ œ œ œ#Dm7

œ œ œb œ œb œb œ œG7

.œ jœ ˙Cmaj7

9.22

& c œ œ œ œ# œ œ œ œnDm7

3œ œ œ# œ œn œ œ œ œG7

jœCmaj7

The necessary notes for modulation, which should be committed to memory, will now be helpful in de-termining guide tone lines and melodic pitches. The progression in ex. 9.23 is I - ii7/IV - V7/IV - IV. ABb is needed to modulate from the key of C to the key of F major. What important pitch should be theguide tone to lead to the key of F over these chords? Bb, the necessary accidental. What is the most con-sonant pitch that will identify the G minor chord? Bb, the third of Gm7. What pitch creates the most mo-tion from the C7 chord which will point to the Fmaj7 chord? Bb, the seventh of C7 which points to theA, the consonant third and identifying pitch of F major. If one can tell that a tune has modulated ortemporarily tonicized another key area, it is because somewhere in the music the accidentals necessary



for modulation have been used to point away from the tonic key. The guide tones lead the listener to thenew key area.

9.23

&

?

c

c

wC

w

˙b ˙Gm7 C7

˙ ˙

wFmaj7

w

If one can tell that a tune has modulated or temporarily tonicized another key area, it is

because somewhere in the music accidentals necessary for modulation have been used to

point away from the tonic key. The guide tones lead the listener to the new key area.

GUIDE TONES for F Major BLUES

At the heart of the jazz blues harmonic progression are these guide tone lines. Sing these lines over ablues bass line and the harmonic progression can be heard. The progression will be heard not becausesome harmonic instrument like a piano or guitar is supplying the chords. The progression will be heardbecause the counterpoint of the two lines, the guide tone lines composed of thirds and sevenths overthe bass line following roots, suggests the notes that identify and change the chords in the progression.Listen to a beginning improvisation class and hear how often there are clashes between the harmonicprogression and their lines. They are not hearing the guide tones. An An may sound terrible in m.2 andin mm.5-6 because we expect the Ab. Knowing where these tones are, how they sound in the context, andwhen they create motion and when they are at rest will help with composing and improvising goodmelodic lines. The first set of guide tone lines follow a simple blues progression; the second one in-cludes more secondary dominants and a typical turnaround. These should be transposed to any key inwhich the blues may be played.

9.24 Guide Tone Line for Simple F major Blues

& b c .. wF

wbBb7

wnF

wbF7

wBb

wbBb7

& b ..wnF

w wGm7

wC7

wF

w

9.25 Guide Tone Line for more complex F major Blues

& b c .. wF

wbBb7

wnF

wbF7Cm7

wBb

w#G#°7/B

& b ..wF

.˙ œ wD7

˙# ˙ wGm7

˙ ˙ wC7

˙ ˙ wF

œ œ œ# œD7

wœ œ œ œGm7 C7



Guide tone notes may occur before, on or after the beat. In the skeleton outlines shown in ex. 9.24 -25,the guide tone line is shown with whole notes referring to harmonic rhythm and not necessarily a re-quired rhythmic placement. Knowing that the third is a target note on the downbeat does not mean thatit must be played on the downbeat. Melodic notes may be anticipated and delayed. Below is an excerptfrom Sonny Rollins. Each of the guide tone notes are anticipated on the upbeat of four giving the linemore forward motion and rhythmic drive.

9.26 Guide tone lines in blues progression

&

&

bb

b b

c

c

Ó Œ ‰ Jœ

∑

‰ Jœ ‰jœ œ ‰ Jœb

wBb‰ Jœ ‰

jœ œ ‰ Jœn

wbEb7‰ Jœ ‰

jœ œ

wnBb

The guide tones in this line from Thelonious Monk are delayed: they land on the upbeat of two. Each isapproached using chromatic notes. The entire twelve measure line, from which this was extracted, in-cludes eleven of the twelve chromatic pitches, but the peaks and important goals of the lines followedthe guide tone lines of thirds and sevenths.


&

&

b

b

c

c

Ó Œ ‰ jœ∑

œ œ œ# œ ‰ jœ œ œn

wF

œ# œ œ œb œ ‰ jœwb

Bb7œ œ œ# œn

wnF

Clifford Brown placed the guide tones in a variety of rhythmic places in ex. 9.28. The guide tones ar-rived on the downbeat in the first two measures. The seventh of F (Eb) arrived a bit early in m.3. The Ebfinally resolved to the D on the upbeat of one in m.5. Brown clearly distinguished between the Ab in m.6and the An in m.7 and both were approached in a similar way and occurred on the downbeat.




&

&

b

b

c

c

.œ Jœ Œ3

œ œ œ

wF

œb ‰ jœ œ œ3

œ œ œ

wbBb7

œ œ œb œ Œ

wnF

Ó .œ Jœ

wbF7

&

&

b

b

œ œ œ œ œb œ œ œ œ œ

wBb

œb œ œ œ œ œ œ œ œ œ

wbBb7

rœn

wnF

Ex. 9.29 is from mm.7-11 of the blues form. Charlie Parker suggested a more complex blues progressionby his choice of guide tone notes. Parker began this phrase with the identical notes that Brown played inex. 9.28. The notes necessary to modulate from F major to the key of ii, Gm, are Eb, from the key signa-ture, and the leading tone F#. The secondary dominant D7 was suggested by the F# and the Eb. The F# - A- C - Eb arpeggio is the 3-5-7-b9 of D7. The C, the dissonant seventh of the D7 chord, was sounded againin the Gm7 measure and resolved to Bb, creating a 4-3 suspension. The Bb was reinforced over the C7,and moved down the scale to the E, the third. Parker arpeggiated the C7 chord from the third, borrowedthe Db and Eb from the parallel F minor and finally moved down the scale to the target note A. Parkerclearly delineated the harmonic progression with his note choices, but the rhythmic character was asimportant as the notes. There was a great variety of rhythmic activity within this short excerpt: the sim-ple idea in the first measure, the triplet turns, displaced resolutions, thirty-second note pick-up notes,and the syncopated ending.


&

&

b

b

c

c

.œ Jœ Œ ‰ Jœ

wF

.˙ œ

3

œ œ œ œ œ# œ œ œb œ œ

wD7

˙# ˙

œ œ œ Œ ‰ œ œ œ œ

wGm7

˙ ˙

œ œ œ œ3

œ œ œ œb œb œ

wC7

˙ ˙

œ œ œ œ Ó

wF

The guide tones may occur in any register as shown in the following excerpts from a blues improvisa-tion by Tete Montoliu. The non-chord tones always resolved back to chord tones. The two Bb pitches inthe first measure resolved back to the guide tone A. The D, Db and Bn in m.2 resolved to C, the fifth ofthe F chord. The Ab, the guide tone for the Bb7 chord behaved as a G# leading back to the A in the finalmeasure.




&

&

b

b

c

c3

œ œ œ œ œ œ œ œ œ

wnF

œ œ œb œn œ œ œ œb

wbF7

œ œ œb œ œb œ ‰jœ

wBb

.œ jœb œ œ# œn

wbBb7

jœ

wnF

5

The Bb resolved back to the guide tone A. The guide tone Eb was followed by the chromatic C# which en-circled and created more tension pointing to the guide tone D.


&

&

b

b

c

c

Ó Œ ‰ Jœ

∑

‰ jœ ‰ Jœ œ œ ‰ jœb

wnF

œ ‰ Jœ œb œ# ‰ Jœ

wbF7

Jœ

wBb

5

Montoliu suggested additional chromatic motion in m.2 with the Dn moving to Db. The Db suggested thatthe Bb major became Bb minor which created a traditional church sounding plagal cadence back to F: IV- iv - I. The harmonic motion in this passage was clear and was created by the harmonically specificmelodic lines.


&

&

b

b

c

c

œ œ œ œ3œ œ œb

˙ ˙bF

œ œ œb œ ‰ jœ

˙ ˙b( )Bb7

3œ œ# œ 3œb œ œb œn œ œ œ

˙ ˙nF

œ œ3

œb œ œ œ œ œ œ

wbF7

œ œ œ œ jœb .œwBb



BLUES ETUDE: GUIDE TONES

Here is a short, simple blues etude based on guide tone lines. Try inventing, writing down and learningseveral blues choruses of your own. Borrow and steal from the examples here and others you may ac-quire from jazz artists.

9.33

&

&

b

b

c

c

‰ jœ œ œ#

∑

.œ Jœ ‰ jœ œ œ

wF

œb œ œ œ Œ œ œ

wbBb7

œ œ œ# œ œn œ œb

wnF

‰ Jœ œ œ œb œ œ œ#

wb F7Cm7

&

&

b

b

œ œ œ œb Ó

wBb7‰ Jœ œ œ œb œ œ œ#

w#G#°7/B

œn œ Œ Ó

wF

.˙ œ

‰ œ œ œ œ œ# œb œ œ

wD7

˙# ˙

&

&

b

b

œ œ œ œ œ œ œ œw

Gm7

˙ ˙

œ œ œ œ œ œb œ œ

wC7

˙ ˙

œ œ œ œ# œ œ

wF

œ œ œ# œD7

‰ jœ œn œ Ó

wœ œ œGm7 C7

GUIDE TONE LINE APPLICATIONS to STANDARD PROGRESSIONS

Guide tones can be extremely helpful for creating lines through any progression. To determine a guidetone line for a harmonic progression, try beginning on the third of the first chord. This establishes thefoundation from which the progression and the line will depart. Try to move only when necessary, find-ing a smooth path through the progression. Often a standard harmonic progression will lend itself to aguide tone line that moves only in steps. Dissonant notes should resolve across the measure line to aconsonant note. When chords occur that modulate, the guide tone notes will often prove to be the notesnecessary for modulation and will be important chord tones. Many progressions will loop so that after aseries of harmonic excursions, the original chord will be heard again at the top of the form or at thesecond A section. As an example, progression no. 13 is a thirty-two measure ABAC form. The first half isshown below. All of the harmony moves away from the tonic Eb chord, but returns to it for the second Asection at m.17. In this way, the guide tone lines should lead back to the starting pitch.

CREATING a GUIDE TONE LINE

A guide tone line could begin on any pitch, but the third is the most definitive note. The line below be-gins on the third of the tonic Eb chord. The G moves down a step to the third of the Dø7 chord. It is notnecessary to move the F for the G7 chord. This is a case of the note changing its status from consonant



to dissonant by the movement in the bass. The F is now the unstable seventh of G which resolves to thethird of Cm, Eb. The Db is the third of Bbm7 and is the logical choice for the continuation of the line asit moves down a step from the Eb. The Db is chosen because it is the third of Bbm7, or since Bbm7 - Eb7modulates to Ab, the Db is chosen as the required accidental to move from the key of Eb (3bs) to Ab (4bs).The Db as the seventh of Eb7 resolves to the consonant pitch C over the Ab major which must become Cbover the Db7 chord. The Db7 is a backdoor dominant and standing in for an Abm, the iv chord in a pla-gal cadence, and therefore must have a Cb. Any pitch tends to resolve in the direction in which it hasbeen altered, so Cb wants to resolve to Bb over the Eb chord. Bb is not the third or seventh of Eb, but is agood choice for this chord in the middle of the progression for at least two reasons: (1), the Cb requiredthe downward resolution, and (2), the Bb can then move smoothly to the next guide tone, An. Why is Anthe appropriate guide tone for the F7 chord? F7 is the V7 of Bb. Bb has the key signature of two flats, oneless than the key of Eb. The An is the note that must change and it is also the third of F7. The Fm7 - Bb7signals the return to the key of Eb and that necessitates the addition of Ab. Ab is also the third of the Fm7chord and the seventh of the Bb7 chord which resolves down to the G, the third of Eb and the cycle iscomplete. The guide tone line is smooth, easy to hear and sing, harmonically very specific, and wascomposed of mostly thirds and sevenths, with the one exception, the fifth of Eb. When the roots movedown in fifths, there is a secondary seventh to third guide tone line which may be suggested and isshown below with smaller notes.

9.34 Progression no. 13

& bb b c .. wEbmaj7

w wDø7

˙ wG7b9

˙n wCm7

w wbBbm7

˙ wEb7

˙

& bb b ..wAbmaj7

wbDb9

wEbmaj7

w wnF9

w wbFm7

˙ wBb7˙

GUIDE TONE LINES in PERFORMANCES

These next several examples are from a live performance of Lou Donaldson and Clifford Brown. Thevehicle used for improvisation was a tune based on progression no. 13.

In m.7, Lou Donaldson landed on a Dn over the Bbm7 chord, but quickly came back to capture the Db,clarifying the minor chord quality. The Db is also the last note he played in the Eb7 measure and led tothe C, the third of Ab major. After establishing the stability with the third of the chord, a melody linecan venture far away and include a great deal of leaps and chromaticism. When the line returns to thethird of next chord, a 3-5-7-9 arpeggio often follows, which removes any remaining harmonic ambiguity.Donaldson used this principle over the Abmaj7.

9.35

& bb b c œn Œ œ œ œb œBbm7

œ œ œ œ œn œb œbEb7

3

œ œ œ œ œ œ œ œœb

Abmaj7

œDb93-5-7-9 arpeggio

Donaldson began the F7 measure with the An, went to the upper neighbor tone, descended the scale, andafter an arpeggio that suggested the 3-5-7-9 of Cm7, came back to the An surrounding it with its upperand lower neighbor tones.



9.36

& bb b c œn œ œ œ œ œ3

œ œ œF9

œ œn œ œ# œ œ Œ

Ex. 9.37 immediately followed 9.36 in the Donaldson improvisation. Donaldson changed the An to an Abto accommodate the Fm7 chord pointing back to the key of Eb. The Ab was approached by an arpeggia-tion of the F minor triad. There was a great deal of chromatic ambiguity over the Bb7 chord which cre-ated a desirable instability over the chord that leads to the tonic. Two chromatic lines were suggestedthat pointed to the guide tone Dn: F-En-Eb-Dn from above and C-C#-D n from below. When the linereached the Dn, the third of Bb, Donaldson used the 3-5-7-9 arpeggio principle that cleared up the har-monic ambiguity of the first half of the measure. The last three notes of the arpeggio were octave dis-placed. The line continued down to the guide tone note G, and then moved up, after encircling the Ebwith neighbor tones, to the G in the upper octave.

9.37

& bb b c Œ ‰ jœ œ œb œ œFm7

œn œ œb œ# œ œ œ œbBb7

œ œ œ œ œ œ œ œEbmaj7

jœ3-5-7-9 Arpeggio

The guide tone thirds appeared on the downbeats for the Cm7 and Bbm7 chords. The Dn in the thirdmeasure over the Eb7 chord is not an error. It would not be heard as the major seventh of the Eb7 chordbut as the chromatic lower neighbor to the Eb note that followed. Again, when arriving at the third of theAbmaj7 chord, Donaldson used an arpeggio.

9.38

& bb b c œ œ œ œ œ œ œCm7

œb œ œ œ œ œ œBbm7

œ œ œ œ# œ œ œn œnEb7

œ œn3

œ œ œ œ œ œ œ œAbmaj7 Arpeggio

Donaldson began this phrase on the guide tone Db, then suggested the seventh to third guide tones Ab toG between the Bbm7 and Eb7 chord. Another arpeggio occurred after arriving at the third of Abmaj7.

9.39

& bb b c ‰3œb œ œ œn œ œ œ œb œ#

Bbm7

œ œ œ œ œ œ œ œ œEb7

œ œn3

œ œ œ œ œ ŒAbmaj7

3-5-7-9 Arpeggio7 3

Clifford Brown played a very similar line to the Donaldson above. Both lines began on the Db and en-circled the Bb with neighbor tones. Brown used an Ab paired with Fn to Donaldson’s Ab and F# to point tothe G. Brown used notes borrowed from the parallel enharmonic minor key of G# minor that createdmore tension when pointing to the Abmaj7. When Brown reached the third of Abmaj7 he used the prin-ciple of arpeggiating the 3-5-7-9 of the chord, but octave displaced the last three notes.



9.40

& bb b c œb œn œ œ œ œb œBbm7

œ Œ œ# œn œ# œEb7

œ œb œ œn œ œ œ œbAbmaj7

3-5-7-9 Arpeggio

Brown supplied the third of every chord on the downbeat in this progression. While C minor and Ebmajor share the same key signature, the key of C minor needs a Bn, the leading tone, to create the domi-nant chord G7. Brown played it on the downbeat and followed it with an inverted 3-5-7-9 arpeggio.

9.41

& bb b c œ3œ œ œ œ œ œn œ#

Dø7

œn œ œ œ3

œ œb œ œ œ œG7b9

œ œ œ ÓCm7

3-5-7-9 Arpeggio

3 7 3 7 3

The use of a 3-5-7-9 arpeggio as a way of elaborating a guide tone line is a universal jazz device. The 3-5-7-9 arpeggio may be found in ascending form or inverted where the last three notes, 5-7-9, are octavedisplaced. Tom Harrell sequenced this device in the following examples. The F7 arpeggio was invertedand the arpeggio for the Bbm7 ascended in ex. 9.42.

9.42

& bb b b b 43 œn œ œ œ œ œF7b9

œ œ œ œ œBbm7

œ œ œ œ œn œArpeggio Arpeggio

The guide tone notes are circled in this excerpt from Tom Harrell. They do not always occur on thedownbeat, but are always prepared and approached in a logical way. The 3-5-7-9 arpeggios are markedwith brackets. Harrell made the sequence work in the last two measures even with the meter change onthe Bbm7 chord.

9.43

& bb b b 43 c.œ œ œ œ œGø7

œn œ œ œ œ œC7

œ œ œn œ œ œFm7

œ œ3

œ œ œ œ œ œ œ3

œ œ œ œ œ œBbm7

Contemporary improvisers are also aware of and use guide tones to identify and connect chords. JohnScofield aimed for the third and seventh of all the chords in the following progression. The Bb7 chord isa secondary dominant chord and points away from the key of Db (5bs) to the key of Eb minor (6bs plus aleading tone). The leading tone is Dn and the sixth flat is Cb. These are the first two pitches Scofieldplayed over the Bb7 chord. Scofield arpeggiated the Ebm7 chord 3-5-7, but stopped before reaching theninth, and let the seventh resolve to the third of Ab7. He almost used the 3-5-7-9 arpeggio over the Dbchord, using a Bb instead of the C.



9.44

& bb b b b c3

œ œ œ ¿ œ œDb

7

.œ Jœ ‰ Jœ œ3œ

7œ ¿ œ œ ˙ Œ

3œn œb œ

7œ œ

3

œBb7b9

& bb b b b œ œ.

7

œ œ œn3œ

Ebm7

œ œ œ œ œn œn œ œb7

œAb7

3œ œ œ. .œ Jœ

Db œ œ œ œ

Standard jazz progressions are still attractive to contemporary jazz performers. Mike Stern used progres-sion no. 7, from a tune published in 1947, to compose a new composition. This is a very common idea.Many of the compositions from the early bop era were newly composed pieces based on establishedharmonic progressions, usually borrowed from or similar to popular show tunes. There is somethingthat is still interesting and challenging about these traditional progressions. Sometimes they offer a con-temporary player an opportunity to improvise lines that contradict the underlying harmonic implica-tions, but here, Stern aimed for the coherent tones of each chord with at least one unexpected turn. TheF# in the second measure informed the listener that F major was left behind. The D7 chord was arpeg-giated and its seventh, the restless dissonant tone C, resolved over the measure line to the consonantthird of Gm7. The Bb was encircled by upper and lower neighbor tones before continuing down thescale. At the C7 measure, a listener might expect to hear the Fn, the seventh of Gm7 resolve to a En, thethird of C. Stern played an F#, this time as part of an encircling of the G before moving down to the Fnwhich did finally resolve to E, not just anywhere, but on the strong third beat. The line continued downthe scale sounding the seventh of C7 before resolving smoothly over the measure line to the consonantthird of F.

9.45

& b c ˙ ˙Fmaj7

œ œ œ œ# œ œ œD7

œ œ œ œ œ œ œGm7

œ# œ œ œn œ œ œ œC7

œFmaj7

3 7 3 3 7 3

The idea that melody lines can implicate and outline the harmonic motion should not be difficult toimagine. Historically, the entire concept of harmony came about as a result of melodic lines. The con-cepts of vertical sonorities, chords and harmonic progressions evolved from the convergence of linearmelodies. The melodies were implicating the harmony before harmony existed. Many years ago stu-dents asked me for book recommendations for melodic ideas. I always suggested Bach, Mozart, andworks of other time tested geniuses of melody. They always looked puzzled and sadly, few of them tookme seriously. Listen to the strength of the single line against another single line in two-part inventions.There is no chordal accompaniments and yet the harmonic motion is crystal clear. This is because thelines themselves incorporate the important chord tones as guide tones. The six suites for cello solo andthe solo sonatas and partitas for violin are excellent material for harmonically specific lines. What canbe learned from the study of Clifford Brown and Charlie Parker can be learned from even older mastersof melodic invention.

There are several melodic lines implied in this Menuet from Suite no. 1 for cello solo. No double stopsare used to indicate the harmonic motion, only the single note melody line implying up to three sepa-rate voices.



9.46 J. S. Bach: Suite No. 1 for Cello Solo, Menuet II

? bb 431

œ œ œ œ œ œ œœ œ œ œ# œ œ œ œ œ œ œ

œ œ# œ œ œ œ œ œ œ œœ œ

? bb .. ..7

œ œ# œ œ œ œn œœ ˙# œ œ# œ œ

œ œ œ œ œ œ œ œ œn œ œœ œ œ œ œ œ œ œ

? bb13

œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œn œ œ œb œ œ œ œ

œ œ œ

? bb ..19

œ œ œ œ œ œ œ œœ œ œ

œ# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ# .˙

The primary line in mm.1-4 suggests Bb - A - G - F#, a descending step line at the interval of a third andan octave over the bass line G - F - Eb - D. The Bb over the G in the first measure left no doubt that thepiece is in a minor key. The F#, leading tone in m.4 and m.8 is the third of the implied D7 chord and isapproached from above and again made it clear that this piece is in G minor and not Bb major.

Brown, Parker and Harrell used arpeggios from the thirds of chords. What about Bach? Examine thesecond part of the Menuet II. The chart below shows the implied harmonic progression and below de-tails the melodic devices used to implicate the harmony.

Implied harmony for second part of Menuet II:

D7 Gm C7 F Bb Eb F7 Bb F7 Bb9 10 11 12 13 14 15 16

Arpeggio Encircled

3rd

Arpeggio Encircled

3rd

Arpeggio Arpeggio Thirds Arpeggio

F# and E bpoint to Gm

En points to

key of F

Eb points to

key of B black of F#also points

to B bFn indicates

Bb and not

Gm

G7 C m F7 Bb D7 Gm Aø7 D7 Gm17 18 19 20 21 22 23 24

3-5-7-9

arpeggio

with 7th -3rd

resolution

Arpeggio 3-5-7-9

arpeggio

with 7th -3rd

resolution

Arpeggio 3-5-7-9

arpeggio

with 7th -3rd

resolution

Arpeggio 3rds Root

Bn and A bpoint to Cm

Fn indicates

Bb and not

Gm

Return of F #indicates G

minor, not

Bb major



STEP PROGRESSION

Many times the harmonic guide tones will suggest a simple step line over several chords. The first fourmeasures of the Menuet II followed a step progression. The example below. IV - iii - ii - I shows the bassand the guide tone thirds following simple downward step progressions.

9.47 Step Progression

&

?

c

c

w

w

w

w

w

w

w

w

Mozart used this same step progression to create these longer florid lines. Mozart used ascending anddescending diatonic scales to accentuate the guide tone step progression line in two octaves.

9.48 Mozart: Sonata in C major, Allegro, KV 545

&

?

c

c

œœ œ œ œ œ œ œ œ œ œ œ œ œ œœŒ Œ œœ

œ œœœœœœœœœœ œœœœœœ Œ Œ œœ

œœœœ œœœœœœœœ œœœœœ Œ Œ œœ

œ œœœœœœœœœœ œœœœœœ Œ Œ œœ

Using some basic harmonic substitutions, the Mozart line can be transformed into a jazzy sounding line.

9.49

& c œ œ œ œ œ œ œœ œ œ œb œ œ œ œ

Fmaj7 B7b13

#9

œ œ œ œ œ œ œ œ œ œ œ œ# œb œ œEm7 A7

b9

œ œ œ œ œ œ œ œ œ œ œ œ œb œ œDm7 G7

b9

˙Cmaj7

A step progression can be created using the primary guide tones over progression no. 13. This guidetone line is a harmonically specific step progression that begins and eventually returns to G after sixteenmeasures.



9.50 Progression no. 13

& bb b c .. wEbmaj7

w wDø7

˙ wG7b9

˙n wCm7

w wbBbm7

˙ wEb7

˙

& bb b ..wAbmaj7

wbDb9

wEbmaj7

w wnF9

w wbFm7

˙ wBb7˙

Clifford Brown used an extended step progression in this excerpt. The step line was interrupted withneighbor tones, an inverted 3-5-7-9 arpeggio, and octave displacement. The line pointed to the third ofevery chord in the progression and moved toward the seventh which resolved to the third of the subse-quent chord. Some of the sevenths were delayed and resolved as 4 - 3 suspensions. This illustrates thedual nature of some notes. The Eb over the F7 is the seventh and points to the Db, the third of Bbm. TheEb is both the seventh of F7 and the upper neighbor to the Eb. Not matter which analysis and term isused, in both roles, the Eb is a dissonant note wanting to resolve to the Db. The simplified step progres-sion is shown on the bottom line.

9.51

&

&

bb b b

b b b b

43

43

Jœ œ œ

œ œ

œ œn œ œ jœn œb œCm7

œ œ œ

œn œ œ œb œ œF7

3

œn œb œ

œ œ œ3œ œ œ

Bbm7

œ3

œ œ œ œ

œ Œjœn

3œ œb œEb7

3

œ œ œ œ3 7 7 77

&

&

bb b b

b b b b

œ Œ3

œ œ œAbmaj7

3œ œ

3

œn œ œ3

œb œ œn3

œ œn œF7

3

œn œb œ

3

œ œ œ ˙

Bbm7

œ3

œ7

Ex. 9.52 is another step progression example from Clifford Brown. Brown’s line incorporated the har-monically clear thirds in almost every measure. All twelve of the chromatic pitches were used, but neverat random. All chromatic tones were resolved in predictable ways. The Db was a chromatic passing tonebetween D and C in the pick-up measure. In m.3, the C# and the A# pointed up to the chord tones D andB. The D# in m.5 indicated a shift to the key of E minor, and was the anticipated third of B7. The G# inm.7 clarified the key of E major. The Gn in the last measure verifies the return to the key of G. The stepline was twice interrupted by octave displacement. In both cases of octave displacement, Brown leaptfrom the harmonically clear third up to the ninth before descending again.



9.52

&

&

#

#c

c

‰ Jœ ‰ Jœb

œœ œ# œ œ œ œ œ œ

Am7

œ œ œ œœ œn œ œb Œ

D7

œ œb‰ Jœ œ# œn œ œ œn œ#

Gmaj7

œ œnœ ‰ jœ œ œ œ œœ œ œ

3 - 9

&

&

#

#œ œ œ œ# Œ

F#m7

œ œ œ#

3œ œ œ œ œ œ œ œ œ#B7

œ œ œ œ œ œ œ#

œ œ# œ œ œ# œ ‰ jœnEmaj7

œn

œ œn œ œ ŒAm7 D7

œ œ3 - 9

This simple step progression framework may not seem like enough for an interesting piece of music, butit is the basis for one of the most familiar melodies of the twentieth century. Judy Garland sang it in anearly disaster film about tornadoes. Play the simple framework below while singing the completemelody. What devices were used to create this melody out of a simple descending scale?

9.53

& c ˙ ˙ w w w w w w wA step line is often suggested by any harmonic progression. Learning to hear progressions usually in-volves being able to hear the one voice that indicates the change. The root of the F chord may not atfirst seem like the best choice to begin the step line below until examining the rest of the line. The Eb isthe note that points to the Bb chord and resolves to the harmonically clear third of Bb, the Dn. The Dnmust become the Db to accommodate the Eb7 chord. The C is the natural choice for the first inversion Fchord for two reasons: (1) it is the logical resolution of the Db, and (2) is a third above the bass note.

9.54

&

?

b

b

c

c

˙ ˙bF F7/A

˙ ˙

˙ ˙bBb Eb7

˙ ˙b

˙ ˙F/A D7

˙ ˙

˙ œb œGm7 C7

˙ ˙

œF

œ



Ex. 9.55 is a embellished version of the simple framework in ex. 9.54. The notes on the downbeats ofmm.2-3 are anticipated giving a rhythmic push to the line. There is more angularity created using arpeg-gios over the D7 and Gm7 chords.

9.55

& b c œ œ# 3œ œ œ œb œ œ# œF F7/A

œ œ œ œb œ œn œBb Eb7

œ ‰ jœ œ œ# œ œF/A D7

œ œ3

œ œ œ œb œ œ œbGm7 C7

œF

OTHER VOICES as GUIDE TONES

The third often proves to be the clearest note to begin a guide tone line. Beginning with the third in-sures the line will build dramatic intensity as it moves away from the consonant third. The third is oftenapproached by the seventh of the previous chord which descends step wise from the dissonance to theconsonance. Ninth chords are common in jazz, which makes it possible to have five separate voice lead-ing lines occurring at once using the root, third, fifth, seventh and ninth of the chord as beginningpitches. All of these notes have linear harmonic implications. Lines may begin on chord tones otherthan the third. While these other pitches may be chord tones, and therefore harmonically specific, theymay not be as clear as the third in establishing the quality of the chord.

GUIDE TONE LINE BEGINNING on the THIRD

Thirds resolve to sevenths when chords are separated by a fifth. Progression no. 13 suggests a harmoni-cally specific guide tone step progression that begins on the third and eventually returns to the samepitch after sixteen measures. The guide tone line never moves more than a whole step. The octave dis-placement in mm.11-12 keeps the line in the staff. Because it is preceded by a backdoor dominant, theguide tone for the Ebmaj7 chord is the fifth, Bb. The Bb resolves down a half step to the essential tone An,the third of the F7 chord.

9.56 Guide Tone Line No. 1: Progression no. 13 with line beginning on the third

& bb b c .. wEbmaj7

3

w wDø7

3

wG7b9

7

wCm7

3

wF7

7

wbBbm7

3

wEb7

7

& bb b ..wAbmaj7

3

wbDb9

7w

Ebmaj7

w wnF9

3

w wbFm7

3

wBb7

7

This etude follows guide tone line no. 1. In the first few measures, the guide tone is elaborated by move-ment up and down the diatonic scale returning to the guide tone. Many other notes are used in additionto the guide tones, and some other guide tone linear implications may be found. 3-5-7-9 arpeggios arefound in mm, 9, 15 and 16.



9.57 ETUDE based on Guide Tone Line No. 1:

& bb b c .. œ œ œ œ œ œ œEbmaj7

˙ ‰ jœ œ œ œ ‰ jœ œ œ œ œDø7

œ œ œ# œn œ œ œG7b9

& bb b œ ‰ jœ œ œ œ œCm7

˙ ‰ jœ œ œbF7

œ œ œ œ œ œ œ œ#Bbm7

.œ Jœ œ œb œEb7

& bb b œ œ œ œ ‰jœn œb œ

Abmaj7

œ œb œ œ œb œDb9

.˙ ŒEbmaj7

‰ jœ œ œ œ œ œ œ

& b b b ..œn œ œn œ œ œ œF9

Ó ‰ jœn œ œ œb œ œ œ œ œ œ œ#Fm7

œ œ œ œb œ œ œ œ#Bb7

GUIDE TONE LINE BEGINNING on the SEVENTH

The seventh is a dissonant tone and creates motion to the third of the next chord. The first guide toneline began with thirds that moved to sevenths. Thirds lead to sevenths and sevenths lead to thirds. Thisguide tone lines reverses the location of sevenths and thirds from the guide tone line shown in ex. 9.56.Beginning on the seventh creates an initial dissonance note which alternates with consonant notes asthe previous line.

9.58 Guide Tone Line No. 2: Progression no. 13 with line beginning on the seventh

& bb b c .. wEbmaj7

7

w wDø7

7

wnG7b9

3

wbCm7

7

wnF7

3

wbBbm7

7

wEb7

3

& bb b ..wAbmaj7

7

wDb9

3

wEbmaj7

9

w wF9

7

w7

wFm7

7

wBb7

3

The etude shown in ex. 9.59 follows the above guide tone line no. 2. The third of F7 is preceded by itsupper neighbor, Bb, which is also the seventh of the Cm7 chord, and preceded by its lower neighbor, G#.This idea is sequenced over Bbm7 - Eb7. There are two lines suggested in mm.9-11: the top of the line fol-lows the G - G - F of the guide tone line above, the C - Cb - Bb suggests the parallel measures in guidetone line no. 1.




& bb b c .. œ œ œn œ œ œ œb œEbmaj7

‰ .œ œ œ œb œ œ œ œ œ œ ‰ JœnDø7

œ œ œ ÓG7b9

& bb b Œ ‰ jœ œ œ œ# œnCm7

.œ jœ ÓF7

Œ ‰ Jœ œ œ œ# œBbm7

.˙ ŒEb7

& bb b ‰ jœ œ œ œ œ œ œAbmaj7

œ œ œb œ œ œ œ œDb9

œ œ œ œ œ œ œ œEbmaj7

.œ jœ Ó

& b b b ..‰ jœ ‰ jœ œ œ œF9

œ œ œ œ Œ ‰jœ œ œ œ œ œ œ#

Fm7 .œ Jœ ÓBb7

GUIDE TONE LINE BEGINNING on the FIFTH

Playing the consonant fifth alone over the root in the bass reveals nothing of the chord quality. Bothmajor and minor chords have a perfect fifth, and the quality will remain unconfirmed until a third hasbeen sounded. The harmonic implications of a guide tone line beginning on the fifth will be vague. Asthirds lead to sevenths and sevenths to thirds, the fifth resolves to a ninth. The fifth of the Dø7 becomesthe b9 of the G7 which resolves to the fifth of the Cm and so on. Creating lines using the fifths andninths will require the use of thirds and sevenths elsewhere in the line or will depend on outside ac-companiment to verify the quality of individual chords.

Fifths must be perfect on major and minor chords. This does not prohibit using a chromatic leadingtone to the fifth. Half diminished chords have diminished fifths. On dominant chord, fifths can be low-ered or raised. The thirteenth or flatted thirteenth may substitute for the fifth in a dominant chord.When using a guide tone line of fifths and ninths, the loss of harmonic clarity by not using the funda-mental thirds and sevenths is exchanged for the available color combinations of altered ninths fifthsand thirteenths available on the dominant chords.

9.60 Guide Tone Line No. 3: Progression no. 13 with line beginning on the fifth

& bb b c .. wEbmaj7

5

w wDø7

5

wG7b9

9

wCm7

5

.˙ œF7

9

wBbm7

5

.˙ œbEb7

9

& bb b ..wAbmaj7

5

wDb9

9

wEbmaj7

7

w wF9

(13)

w5

wFm7

5

.˙ œbBb7

9

This etude follows guide tone line no. 3. The first line begins with and leads up to a Bb guide tone, butemphasizes the third in the second measure which clarifies the major chord quality. In several measures,after sounding the guide tone fifth, the line will reach towards the third for harmonic clarity.




& bb b c .. Œ ‰ jœ œ œ œ œEbmaj7

œ œ œ œ œ œn ˙b œ œ œ œDø7

Œ ‰ jœ œ œ œ œ#G7b9

& bb b œ œ œ œ œ ‰jœ

Cm7

˙ ‰ jœ œb œF7

œ œb œ œ œ œn œBbm7

˙ ‰ jœn œb œnEb7

& bb b œ ‰ jœ œ œn œb œAbmaj7

‰ .œ ‰ jœ œ œDb9

œ œ œ œ ˙Ebmaj7

∑

& b b b ..œ œ œ œn œ œ œ œnF9 œ œ œn œ œ œ Œ ‰ Jœ œ œ œ œ œ œ

Fm7 .˙b ŒBb7

GUIDE TONE LINE BEGINNING on the NINTH

As fifths resolve to ninths, ninths resolve to fifths. Guide tone line no. 4 begins on the ninth, and theninths resolve to fifths when the chords are separated by fifths. The very dissonant ninth (Eb) of the Dø7chord could resolve to the fifth of G (Dn) or remain as the b13 (Eb) of the G7. The b13 can resolve downto the fifth of G7. The fifth of G7 then becomes the ninth of the Cm7 and so on. The ambiguous andcolorful ninths and fifths may require the clarity of thirds and sevenths to be included in the line or in aseparate accompaniment. This guide tone line leads to the third for the Eb chord in m.11.

9.62 Guide Tone Line No. 4: Progression no. 13 with line beginning on the seventh

& bb b c .. wEbmaj7

9

w wDø7

9

˙ ˙G7b9

13 5

wCm7

9

˙ ˙bF7

13

wBbm7

9

˙ ˙bEb7

13

& bb b ..wAbmaj7

9

˙ ˙Db9

13 5

wEbmaj7

3

w wF9

9

w wFm7

9

˙ ˙bBb7

13

This etude follows guide tone line no. 4. The melody line suggested a seventh to third resolution fromthe Dø7 to the G7, as relief from the obscure harmonic information provided by the ninths and fifths.




& bb b c .. Œ œ œ œ œEbmaj7 ˙ ‰ Jœ œ œ œ œ œ œ œ œn

Dø7

˙ ‰ Jœ œ œG7b9

& bb b œ œ œ œ œ œCm7

˙ ‰ Jœ œb œnF7 œ œb œ œb œ œ œ œb

Bbm7 .˙ ŒEb7

& bb b ‰ jœ œ œ œ œ œ œAbmaj7

œ œn œb œ œ œ œ#Db9

œ œ œn œ œ œ œEbmaj7

∑

& b b b ..‰ jœ œ œ# œ œ œ œF9

.œ jœ Ó œ3

œ œ œ œ œ ‰jœ#

Fm7

œ œ œb ˙Bb7

FIVE GUIDE TONE LINES at ONE TIME

If all four of the guide tone lines occur at once then five part harmony is the result. It is important, as animproviser or composer of melodic lines, to learn to think of the harmony as a consequence of thelines and not a separate unrelated vertical entity.

9.64

&

?

bb b

b b b

c

c

..

..

wwwEbmaj7

ww

wwwww

wwwDø7

ww

˙ ˙G7b9

wwn

wwwCm7

wwb

˙ ˙bbF7

wwn

wwwbBbm7

wwb

˙b ˙bbEb7

ww

&

?

bb b

b b b

..

..

wwwAbmaj7

ww

˙b ˙Db9

wwb

wwwEbmaj7

w

wwww

wwwnF9

ww

wwwnww

wwwbFm7

ww

˙ ˙bbBb7

ww

GUIDE TONE LINES with DECEPTIVE RESOLUTIONS

The first four guide tone lines should have been easy to hear. The resolutions that occurred were whatmost would expect; there were no surprises. Since these lines and their voice leading are common andanticipated by most listeners, it is important to learn what they are and how they work before trying todo the unexpected. After mastering the expected, one has a better chance to understand and effectively



use the unexpected resolution. Here are a few possible guide tone lines which move against expectations.Since most of the voice leading lines tend to fall (a seventh resolves down to a third; a ninth to a fifth; asuspended fourth resolves down to the third) then it is not surprising that the unexpected lines moveupward. There is a great deal of tension created by the following ascending guide tone lines. The tensionthat the ascending guide tone lines create can be an effective tool in constructing a dramatic improvisa-tion or composition.

The line in ex. 9.65 begins on the fifth of Eb. Instead of the Bb resolving down to the fifth of Dø7 andthen becoming the ninth of G7 as it did in guide tone line no. 3 (9.60), the Bb moves up to the C, theseventh of Dø7. The motion is still smooth, but contradictory to expectations. The C, as the seventh ofDø7 points down the Bn, the third of G7. If it resolves up, the dissonance is compounded by the unex-pected ascension and the resolution to the very dissonant #11 of the G7. The C# dissonance is appeasedsomewhat by the resolution to the relatively less dissonant Dn, the ninth of Cm. The D moves up to theEb, a dissonant note to the Bbm7, but also the dominant of the new key of Ab. The Eb moves up to En, orFb, the flat ninth of Eb, which begs to resolve back down to Eb, the fifth of the next chord, Ab. It defiesgravity again moving to the F over the Ab, a relatively calm dissonance. The G and Ab are comparativelyrelaxed over the Db7 and seem to point up to the Bb. Instead, the unexpected An occurs before resolvingto the Bb. The Bb had previously at this point in the progression moved down to the An, but here movesup to the Bn, the #11 of F7. The Bn moves up to the consonant fifth (Cn) of Fm7 and then to the #9 (C#) ofBb. A guide tone line like this generates tension partly because of the unexpected resolutions. That moststep progressions and guide tone lines descend and the fact that this line ascends contributes to thesense of mounting urgency.

9.65 Guide Tone Line No. 5: Progression no. 13 with ascending line

& bb b c .. wEbmaj7

w wDø7

w#G7b9

wCm7

wF7

wBbm7

wnEb7

& bb b ..wAbmaj7

˙ ˙Db9

wnEbmaj7

w wnF9

wn wFm7 w#Bb7




& bb b c .. .˙ œ œ#Ebmaj7

œ œ œ œ œ œ œn œ .œ jœ œ œ ‰ Jœ#Dø7 .˙ œG7

b9

& bb b œ œ œ œ ÓCm7

Ó œ œ œ œF7 œ 3œ œb œn œ œ œ œ

Bbm7 œn œ œ œ œ œbEb7

& bb b .œ Jœn œb œ ŒAbmaj7

Œ ‰ Jœb œœ œ œDb9 ˙n œ œ œn œbEbmaj7 ˙ ‰ Jœ œ œn

& b b b ..œ 3œ œ œ œ œ 3‰ œ œF9

œn œ œ Ó ‰ Jœ œ œ œ œ œ œFm7 œb œ œb œ œb œ

Bb7

The guide tone line in ex. 9.67 begins on F, the ninth of Eb. It resolves down to the ninth of Dø7, but to aEn rather than an Eb. An Eb would be the expected pitch in this context where Dø7 is either the viiø7 ofEb major or the iiø7 of C minor. The En brightens the typically dark half-diminished chord. The En couldeasily resolve down to an Eb, the b13 of the G7 chord, but instead moves up to the F, the seventh. The Fcould resolve as expected to the Eb, the third of Cm, but moves up to the very dissonant F#. The F# pointsto and finally resolves as a leading tone to the G. The G moves smoothly up to the Ab, the seventh ofBbm7, but does not resolve down to the expected third of Eb, resolving up instead to the dissonant An.The An points to the Bb and finally moves to it over the Abmaj7. The Cb over the Db7 points back downto the Bb, but in keeping with this example, moves up to the relatively consonant Cn over the Eb chord.The Dn, the thirteenth of F7, is approached from a chromatic passing tone, C#. The Dn moves up to theseventh of Fm7, Eb. The unexpected resolutions continue as the Eb moves to En rather than the antici-pated Dn. The dissonant En points up to the F and brings the progression back to its starting point.

9.67 Guide Tone Line No. 6: Progression no. 13 with ascending line

& bb b c .. wEbmaj7

˙ ˙ wnDø7

wG7b9

˙# ˙Cm7

wF7

wBbm7

wnEb7

& bb b ..wAbmaj7 wbD

b9 wEbmaj7 .˙ œ# wF9 w wFm7 wnBb7




& bb b c .. Œ ‰ jœ œ œ œ œEbmaj7

œ œ œ œ œ œ œ œn œ œ œ œ œn œ œ œDø7

œ œ œÓ

G7b9

& bb b ‰ jœ#3

œn œ œ œ œ œ œCm7

œn œ œ œ œ œ œ œF7

œ œ œb œ œ œ œBbm7

˙n œ œ œ œEb7

& bb b œ ‰ jœ œ œ œ œbAbmaj7 œ œ œb œ œ œ œn

Db9 œ œ œ œ œ œ œnEbmaj7

œ ‰ jœ œ œ# œ# œ#

& b b b ..œ œn œ œ œ œ3

œ œ œF9 œ œ œ Ó œ œ œ œ œ œ

3œ œ œFm7 .œn Jœ Ó

Bb7

MULTIPLE GUIDE TONE LINES: COMPOUND MELODIES

Single lines may be created which suggest two or more individual lines. There are excellent examplesfrom all style periods, with some of the best known found in Bach’s compositions for solo cello andsolo violin. In order to distinguish two independent lines within a single line, the two lines should beseparated by an interval larger than a third. Any smaller interval between them and it will be difficult todistinguish two independent lines.

The following examples are single line melodies which imply more than one independent melody line.Often one of the implied lines will be more active and the other more passive. In this beautiful example,Bach suggested two melodies separated by the interval of a sixth. The reduction of the two lines is shownbelow. The line on the top is the more active; the one on the bottom more passive.

9.69 J. S. Bach: IV. Choral, Cantata No. 140, Wachet Auf, Ruft Uns Die Stimme (1731)

&

&

bb b

b b b

c

c

jœ œ œ œ œ œ œ œ œ œww

œ œ œ œ œ œ œŒ

œœ œœ ˙



Bach’s single line could have been easily adapted for two instruments as shown below.

9.70

& bb b cJœœ œ œ œ œ

jœ .œ.˙ œ œ œ œ œ œ œ œ Œœ œ œ œ

Here is a familiar line from Gershwin. The voice leading suggests the progression: IV - iv - I - V7/V - V7 -I in the key of G. The bottom staff illustrates the two suggested step progression guide tone lines.

9.71

&

&

#

#

c

c

œ œ œ œ jœb œ Jœ

.˙ œ œŒ ‰ Jœ ˙b

œ œ œb œ œ# œb œn œ

˙ œb œ˙ œ# œn

w

ww(

œ Œ Ó

œ Œ Óœ )Compound lines also have a home in folk music. The bottom staff in ex. 9.72 illustrates the two suggestedguide tone lines. The range between the two contrary step lines begins as sixth apart and moves to a uni-son.

9.72 Home on the Range

&

&

#

#86

86

jœ‰œ œ œ œ œ œŒ . .œ.˙

.œ œ œ œ œ œŒ . .œ.˙

.œ œ œ .œ œ œ

˙ œ œŒ . .œ

.œ jœ ‰

.˙ .˙

Keith Jarrett played this long passage that suggested two independent lines. The top line was the moreactive, but both were relatively simple as this was the beginning of an improvisation. The simplicity ofthe individual lines prevented the entire melodic line from being cluttered.



9.73

& bb c ˙‰ jœb œ œ‰ Jœ ‰ Jœb ˙ .œ jœ œ œ œ ‰ jœ œ œ œ œ œ

Bb Gm7

.œ jœ œ œ œCm7 F7

& bb œ œ œ œ œBb/D Gm7

œ œ œ œ# œCm7 F7

œn œ œ œœ œ

Bb

Three lines may be suggested as shown in the following examples from Bach. The independent linescannot be too complicated or the clarity of the whole may be lost. The lines in the Menuet example areseparated by a sixth and a fifth which helps the listener discern the separate parts. The top line begin-ning on Bb is the primary line, with the line beginning on D as a secondary line. The third line on thebottom suggests the bass movement.

9.74 J. S. Bach: Suite No. 1 for Cello Solo, Menuet II

?

?bb

b b43

43

œ œ œ œ œ œ...˙˙

œœ œ

...˙˙

œ œ# œ œ œ œ˙˙

œ œ œœ Jœ#

...˙˙#

Each entrance of the compound melody from this Bourrée is separated by a large interval to ease theperception of the independent nature of the lines. Although played by the cello solo, the line could eas-ily be orchestrated for three separate instruments grouped as shown.

9.75 J. S. Bach: Suite No. 3 for Cello Solo, Bourrée I

? 22 œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1.

2.

3.1.

2.

3.

USING LINEAR IMPLICATIONS of HARMONIC VOICE LEADING to CREATECOMPOUND MELODIES

Review the basic voice leading principles: thirds resolve to sevenths, sevenths to thirds, fifths to ninths,and ninths resolve to fifths. The ninths of dominant chords may be n9, b9 or #9, but they still resolve tothe fifths. The fifth of a dominant chord may be replaced by a n13, b13, #11 or b5. Any of these substitutepitches behave as a fifth and resolve to the ninth of the subsequent chord. Two voices usually remainstationary (3 & 5 become the 7 & 9 ) and two voices move down a step (9-5 and 7-3).



9.76 Pairs of voices alternating motion

&

?

c

c

˙ ˙Dm9 G9

˙ ˙

wwwCmaj9

ww

9 moves to 5

7 moves to 3

5 becomes 9

3 becomes 7

5 becomes 9

9 moves to 5

7 moves to 3

3 becomes 9

A single melodic line can be a compound melody by following two distinct guide tone lines impliedfrom the harmony. Guide tone lines that follow voice leading may begin on four possible notes (apartfrom the root played by the bass): the third, seventh, fifth, and ninth. Compound melodies can be cre-ated by following two of these implicit lines in one single melodic line. Referring to the example above,a voice pair may move parallel at the same time or in oblique motion where one voice is stationary andthe other moves. Two lines that move obliquely are easier to manipulate since they are active at oppo-site times in the progression. There are six possible pairing combinations. The pair of guide tone linescould begin on the:

• 3rd & 5th parallel motion• 3rd & 7th oblique motion• 3rd & 9th oblique motion• 5th & 7th oblique motion• 5th & 9th oblique motion• 7th & 9th parallel motion

Melodic frameworks based on the guide tone pairs and short melodic examples are illustrated below us-ing each of the six pairs over an excerpt from progression no. 25. The repetition of the ii7 - V7 - I pro-gression down a whole step lends itself to the use of sequences as a developmental tool.

The most harmonically specific pair of lines follows the third and seventh, and this may be why it is themost commonly used pair. The third is stable and provides the harmonic clarity of chord quality(major or minor). The seventh is the primary note of dissonance which moves one chord to the next:the seventh usually resolves down to the next third. The top line begins on the third and suggests thevoice leading 3 - 7 - 3, while the second line suggests 7 - 3 - 7. The voices do not move at the same timebut alternate. The Eb is the third of Cm7, is the most consonant note and does not need to change forthe F7. The Bb, the seventh of Cm7 is the dissonant note that must change in order to arrive at the F7.The Bb - An is the first voice that moves the line to the next chord. The motion is then answered in theprimary voice resolving the dissonant (over the F7) Eb to the Dn. A note that may be consonant overone chord becomes dissonant over the next, as the Eb changed its classification from the Cm7 to the F7.The lines are sequenced in the final two measures.

9.77 Guide tone line suggesting two independent lines beginning on the 3rd & 7th

& c ˙bŒ œ

Cm7 F7

Œ œb ˙ wwBb

˙b Œ œBbm7 Eb7

Œ œb ˙ wAb

w3 7 3 3 7 3

7 3 7 7 3 7



9.78 Possible melodic line from guide tones

& c œb œb œ# œ œ œ# œCm7 F7 œ œ œ ‰ Jœ œ œb

Bb œ œb œ# œ œb œ œBbm7 Eb7

wAb

The pair that follows the third and fifth is also harmonically clear because of the presence of the third.These two pitches should be separated by the interval of a sixth and not a third if the line is to be per-ceived as compound. If they are separated by only a third they will be too close to hear the separatevoice leading. This pair of voices wants to move at the same time. The Eb and the G are chord tones ofCm7 and neither voice has to move anywhere for the F7, as G is the ninth of F7 and Eb is the 7th. Usingthe Gb, the b9 of F7, suggests a chromatic line (G - Gb - F) and creates motion where there was none. Thelines are sequenced in the final two measures.


& c ˙bŒ œ

Cm7 F7

Œ œ ˙bwwBb

˙b Œ œBbm7 Eb7

Œ œ ˙b wAb

wb3 7 3 3 7 3

5 b9 5 5 b9 5


& c œb ‰ jœ œb œ ‰ JœCm7 F7 .œ jœ ˙

Bb œb œ œb œb œ œ œBbm7 Eb7

wAb

The fifth of a chord by itself can be ambiguous. It does not reveal the chord quality. It can lead to a col-orful line as it resolves to the ninth of the next chord. The voice pair in ex. 9.81 uses the ambiguous andcolorful line beginning on the fifth and the harmonically clear line that begins on the seventh. A goodcompound line can be created using this pair of voices as they resolve at different rhythmic points inthe progression. The G as the fifth of Cm becomes the ninth of F7. As above, a Gb can be used to createthe chromatic line G - Gb - F. The independent lines are easier to hear when separated by the interval ofa sixth rather than separated by a third. The lines are sequenced in the final two measures.

9.81 Guide tone line suggesting two independent lines beginning on the 5th & 7th

& c ˙Œ œb

Cm7 F7

Œ œb ˙ wwBb

˙ Œ œbBbm7 Eb7

Œ œb ˙ wbAb

w5 b 9 5 5 b 9 5

7 3 7 7 3 7




& c ‰ Jœb œ œ œ œb œ œ œ œb œCm7 F7 .œ Jœ Œ ‰ Jœ

Bb œ œb œ# œ œ œ œbBbm7 Eb7 wAb

The voice pair that follows the third and the ninth must be separated by the interval of a seventh. Nosense of independence would be perceived if they were separated by only a step. These two voices alter-nate their motion. The line beginning on the third provides the stability and the line from the ninthprovides color. Instead of the fifth over the dominant chords, a b13th was used. Using the b13th createsthe chromatic line: D - Db - C over the Cm7 - F7 - Bb. The b13 of F7, Db, is often erroneously labeled a #5.In this case it must be a b13 following the rule that an altered note wants to continue in the direction inwhich it has been altered. If it was a #5, a C#, it would suggest the chromatic line C - C#, - D, which it doesnot. To soften the harshness of the interval between the third and ninth, it may be filled in by an arpeg-gio, although the starkness of the large interval can be appealing.


& cŒ œ ˙b˙b Œ œ

Cm7 F7

wBb

wŒ œ ˙b˙b Œ œ

Bbm7 Eb7

wbw

Ab9 b13(#5) 9 9 b13(#5) 9

3 7 3 3 7 3


& c œb œ œb œ œb œ œ œ œCm7 F7

œ œ œ œ œ ŒBb

‰ jœb3

œ œb œ œb œ œb œBbm7 Eb7

œ œb œ œb ˙Ab

The pair of lines following the ninth and fifth assumes the fundamental chord tones, the thirds and sev-enths, will be supplied elsewhere in the accompaniment or inferred by the listener. These two voices al-ternate their motion. Both levels of the compound line will be colorful especially when using the possi-ble alterations over the dominant chords. A b13 and a b9 are used over the dominant chords below, cre-ating two chromatic lines: D - Db - C and G - Gb - F. The Gb (b9) and Db (b13) notes over the F7 chord areobviously borrowed from the parallel key of Bb minor. There are several familiar jazz standards whichuse this pairing in developing the melody.


& c ˙Œ œb

Cm7 F7

Œ œ ˙b wwBb

˙ Œ œbBbm7 Eb7

Œ œ ˙b wwbb

Ab9 b13(#5) 9 9 b13(#5) 9

5 b9 5 5 b9 5




& c œ œ œ œb œb ‰ jœCm7 F7

.œ Jœ ÓBb

‰ Jœ3

œ œb œ œn œn œ œbBbm7 Eb7

œ œ œb ˙Ab

This pairing is rarely if ever used with much success, but is possible. The lines must be separated by asixth and not a third to maintain their independence. This separation is part of why the pairing is weak,as it puts the colorful ninth below the fundamental seventh. The line may sound like it is in the wrongkey. These pitches, rather than suggesting Cm7 - F7 - Bb, seem to suggest a compound line using the thirdand seventh of Gm7 - C7 - F.


& c ˙bŒ œ

Cm7 F7

Œ œ ˙b ww

Bb

˙b Œœ

Bbm7 Eb7

Œ œ ˙b wAb

wb7 3 7 7 3 7

9 b13(#5) 9 9 b13(#5) 9


& c œb œ œ œb œ œ œCm7 F7

.˙ ŒBb

œb œ œb œb œ œ œBbm7 Eb7

.˙ ŒAb

GUIDE TONES in ARRANGING and COUNTERPOINT

Guide tone lines are helpful to arrangers and to musicians on the job who are “faking” arrangements.The melodies to many popular jazz standards follow the harmonic guide lines previously discussed. Thearranger must determine which line the primary melody follows and then determine the best path forthe secondary line. If the primary line begins on the third, then the improvised or arranged secondaryline could begin on the seventh. To prevent the secondary melody line from being active at the sametime as the primary line choose a secondary guide line that is stationary when the primary line movesand moves when the primary line is stationary.

The root cycle of progression no. 1 make it an excellent vehicle for this demonstration. Three guidetones lines are shown below. Without rhythmic context or melodic movement this example has no sug-gested style. By adding idiomatic melodic and rhythmic figures to the lines they can be transformedinto any style setting: Baroque, classical, swing, or Latin. The guide tone lines establish the harmony;there is no pressing need for guitar or piano to play chords in order for the listener to discern the har-monic progression. Any three instruments could play the parts. The top and middle voice move in al-ternate measures. The top part moves C to Bb while the second voice remains on F in the first two mea-sures. The second voice move F to E while the top voice remains on Bb in the second two measures. Thisalternation continues to the end of the phrase. The alternate motion will help keep the parts rhythmi-cally independent.



9.89 Three-part guide tone framework without “style”

&

&?

b

b

b c

wDm7

7

w3

w

wGm7

3

w7

w

wC7

7

w3

w

wFmaj7

3

w7

w

wBbmaj7

7

w3

w

wEø7

3

w7

w

wA7

7

w#3

w

wDm

3

w7

wAdding characteristic stylistic elements can make this framework swing. The bass line walks quarter notesmaking sure each new root is approached stepwise. The melodic rhythms anticipate downbeats, puttingthe guide tone notes on the upbeats. Only diatonic scale notes are used for elaboration. The lines arerhythmically independent: when one moves the other is stationary creating dialog between the uppervoices. The two lines take turns moving the music forward.

9.90 Three-part guide tone framework in light swing jazz style.includes rhythmic anticipation & diatonic embellishments

&

&?

b

b

b

Ó ‰ jœ œ œDm7

7 3

œ œ œ œ ˙3 3

œ œ œ œ

œ œ œ œ œ ŒGm7

˙ ‰ jœ ‰ jœ7 3

œ œ œ œ

Ó ‰ jœ œ œC7

7 3

œ œ œ œ ˙3

œ œ œ œ

œ œ œ œ ÓFmaj7

˙ ‰ jœ œ œ7 3

œ œ œ œ

&

&?

b

b

b

Ó œ œ œ œBbmaj7

7

œ œ œ œ ˙3

œ œ œ œ

œ œ œ œ jœ .œEø7

3

˙ ‰ jœ œ œ#7 3

œ œ œ œ

˙ œ œ œ œA7

7 3

œ œ œ œ œ œ# œ œ

œ œ œ œ

wDm

ww



AVOID NOTES?

The guide tones have all been shown with whole and half notes as if they must occur on a downbeat.This was just for illustration. The musical examples have shown that there is much flexibility about wherethe guide tones occur in actual melodic settings. The guide tones are often anticipated in a jazz swingstyle, as illustrated in ex. 9.90, and they may also be delayed. When they are delayed, the pitches thatmay occur on downbeats are often what some jazz educators have called “avoid” notes. Are there notesto avoid? This list of “avoid” notes usually includes the fourth degree over a major chord. A book couldbe filled with common examples of improvisations and compositions that prove this wrong. It would bebetter and more accurate with actual performance practice to explain that all twelve pitches work at anytime, but not equally. Because of the pitch hierarchy, some are consonant (chord tones), some disso-nant (related diatonic pitches) and others even more dissonant (the remaining chromatic pitches). Itwould not be desirable to leave arbitrary dissonances scattered around like dirty laundry on a dormroom floor. But the use of these dissonance, these “avoid” notes actually propel the music forward. Thetensions they create are like the tension of a bow that propels the arrow, or how the gravitational forceof a planet can be used to help catapult a spacecraft like a slingshot.

So rather than “avoid” notes that are dissonant, think of them as paths pointing towards the consonantnotes. This does not excuse the improviser or composer from any responsibility, rather it insists theymust be able to identify consonant and dissonant notes, and realize that as the harmony progresses, theclassification of a note may change. The third of a major chord must be recognized as the consonantgoal note for harmonic clarity and that chromatic pitches a half step above (the “avoid” note fourth)and the chromatic note below (the leading tone) are dissonances that can be used as pointers.

Visit a beginning improvisation class and you will hear many lines that stop on these “avoid” notes. Thestudents know the notes are dissonant, they can hear the harmonic conflict, they are just too inexperi-enced to know which way to go to resolve them and so they stop. Given the opportunity, they usually cansing or play the correct resolution, but are not yet adept at finding the note in real time. Panic usuallywins and the “wrong” note is left hanging in the air. This scenario was probably what led many educa-tors to the term “avoid” notes.

The dissonant tones are pointers that propel the music forward to the consonant tones. So rather thanavoid those notes, they may be just the ones to aim for in order to achieve forward linear motion. Firstlearn the tones that clarify the harmonic setting and then learn the notes which create tension and mo-tion that point back to those consonant tones.

Avoid notes are taken to the limit in this next setting based on the framework illustrated in ex. 9.89. Theresolution to each guide tone note is delayed because the upper neighbor tones to the guide tones occuron the downbeat. This creates the ancient device known as a suspension. There is a 4-3 suspension in ev-ery measure. When the seventh of one chord is held into the next measure it becomes the dissonantfourth, the “avoid” note that pulls to the harmonically clear third. The dissonance on each downbeatpropels the music forward. The bass pattern helps create a Bossa style. The rhythmic activity movesfrom one voice to the next and only in the last two measures are they active at the same time.



9.91 Three-part guide tone framework in bossa style.includes rhythmic delays creating 4-3 suspensions

&

&?

b

b

b

∑

Ó ‰ jœ œ œ∑

Ó ‰ jœ œ œDm7

(7)

.œ jœ ˙(4) 3

.œ Jœ œ œ

.œ Jœ ˙Gm7

(4) 3

˙ ‰ jœ œ œ(7)

.œ Jœ œ œ

˙ ‰ jœ œ œC7

(7)

œ3

œ œ œ ˙(4) 3

.œ jœ œ œ

œ 3œ œ œ ˙Fmaj7

(4) 3

˙ ‰ jœ œ œ(7)

.œjœ œ œ

&

&?

b

b

b

˙ ‰ jœ œ œBbmaj7

(7)

œ3

œ œ œ ˙(4) 3

.œ jœ œ œ

œ œ œ œ ˙Eø7

(4) 3

˙ ‰ jœ œ œ(7)

.œjœ œ œ

œ œ œ œ œœ œ œ

A7

(7)

.œ jœ# ˙(4) 3

.œ jœ œ œ

.œ jœ ˙Dm

(4) 3

œ œ œ ˙.œ Jœ ˙

Guide tone lines can be found when the chords move in ways other than cycles of fifths. This progres-sion includes several types of root motion and chord inversions. The top line follows the bass line atthe interval of a third. The Dn over the Bb establishes the major triad. The logical resolution of the D isto the Cn because of the smooth stepwise motion. The third of the F would not be a good choice in thesecond measure: it would necessitate a leap from the D, and it would be redundant to double the bassnote. The step motion continues the for the entire top guide tone line. The middle voice can be de-duced by finding what notes remain after the top and bottom lines have been determined. A Bb triadincludes the notes Bb - D - F. Since Bb is in the bass and D is in the top voice, F is the logical choice tobegin the middle voice. The middle voice does not need to move between the first and second andthird and fourth measures. The middle voice does finally arrive at the same pitch as the bass line at theconclusion of the phrase. Singing the second line illustrates why it must end the way it does as the Bnpoints up to the C.

9.92 Three-part guide tone framework without “style”

&

&?

bb

b b

b b c

wBb

ww

wF/A

ww

wGm7

ww

wDm/F

ww

wEbmaj7

ww

wG7

wn˙ ˙

wCm

ww

w

ww



The framework in ex. 9.92 can be brought to life by adding musical stylistic elements as shown below.The bass line suggests a light two-beat swing that develops into a four beat swing. The guide tones arerhythmically anticipated as one would expect in a jazz style. The F is approached with its upper neigh-bor tone. The D is surrounded by its diatonic upper neighbor tone and chromatic lower neighbor tone.The rhythmic activity of the two lines alternate. The G7, as V7/ii, requires the Ab from the key signatureof C minor and the leading tone Bn. Both of these important identifying pitches occur in the melodicmaterial. The last two resolutions are delayed until the final measure. The F is held from the G7 measurein the top voice creating a 4-3 suspension. The Bn is held over in the middle voice delaying its resolu-tion to C. These lines will be musically effective with any combination of instruments.

9.93 Three-part guide tone framework in light swing jazz style.

&

&?

bb

b b

b b c

œ œ

Œ œ œ# œ œ œ œBb

w.œ Jœ œ œ

wF/A

˙ ‰ jœ œ œ.œ Jœ œ œ

Œ œ œ œ œ œ œGm7

w.œ Jœ œ œ

wDm/F

‰ jœ œ œ œ œ œ.œ Jœ œ œ

&

&?

bb

b b

b b

Œ ‰ jœ œ œ œ œEbmaj7

.˙ œ œœ œ œ œ

œ œ œb œ œ œ œG7

wnœ œ œ œ

˙ œ œ œ œCm

‰ jœn œ œ œ œn œœ œ œ œ

w

ww


When writing out a guide tone lines the most basic line may be the best. Strive for step progression andharmonic clarity. Save the complicated ideas for the development of the guide tone lines. Defining theconsonant notes will also help determine the dissonant notes.

• Write out, sing and play guide tone lines over standard progressions like those inchapter 7.

• Write out, sing and play guide tone lines over new tunes as part of practice.

• Use the guide tone lines as vehicle for improvisation over selected progressions.

• Using the guide tone lines write out elaborated versions over selected progressions.

224 Chapter 10 Common Melodic Outlines


X. COMMON MELODIC OUTLINES

LINEAR HARMONY

Harmony is often explained as a vertical entity. Chords are spelled up from the bass or voiced downfrom the soprano. While it is valuable to understand chords in this way, we experience music as it hap-pens over time as a linear phenomenon. Melodic lines can address the voice leading principles and(vertical) harmony will be experienced as a result of linear melodic motion. When melodic lines ad-dress the important chord tones (the tones that identify the chord qualities) and then move towardsdissonant tones (the tones that move one chord to the next like sevenths and ninths) the result is linear

harmony.

In one of my first teaching experiences with an improvisation class, I asked students to bring in shortjazz transcription examples. As a class, we would extract basic principles of music from the examples.Sometimes several students would bring in almost identical lines from musicians playing different in-struments from different time style periods. After a very short time, all of the examples seem to fit intothree categories or shapes based on the same three basic skeletal frameworks. All of them followed theprinciples of linear harmony: consonant notes (usually thirds) in rhythmically significant places leadingto dissonances (sevenths) which resolved to consonant notes again, usually over the measure line.

These three simple melodic frameworks that occur so often deserve their own section in this book. I callthese skeletal frameworks outlines. Outlines are harmonically specific lines which connect chordsthrough guide tones. The structural simplicity of the outlines allows the improviser/composer muchroom for developing them in their own personal way.

Thousands of musical lines based on the same basic outlines can each sound completely unique be-cause different types of musical devices can be used in their development. This is comparable to dis-covering that thousands of doors and windows are rectangular, but can be finished, trimmed and deco-rated in many styles from simple to ornate. Musicians can stamp the outlines with their unique personal-ity. Many sentences share the same structure and parts of speech, and yet can express many diverseideas. Hundreds of musical examples can have the same basic outlines and still retain their individualmusical identity. The outlines are also part of the collective musical vocabulary that carries a sociologi-cal identification: being conversant with the outlines helps identify one as knowing the language.

Examples of outlines can be found in any musical style period that uses traditional harmonic progres-sions. Outlines are plentiful in the be-bop jazz vocabulary. There are entire solos by Clifford Brownbased on nothing but outline no. 1. Knowing the outlines should not in any way stifle creativity. On thecontrary, knowing them should inspire creativity. The outlines are a given over any harmonic progres-sion. They are the linear equivalent of knowing the chords to a piece. Knowing them gives a sense ofharmonic direction to improvised or composed melodies. The outlines are obviously not the only valu-able material available as building blocks for constructing musical lines. They are excellent tools forteaching beginning improvisers for several reasons:

Chapter 10 Common Melodic Outlines 225


• students learn melodic patterns, not just scales and arpeggios• students learn the connections between the chords• students move away from thinking root to root approaches to harmony• students hear the harmony by isolating the tones that clearly define the chords and the

tones that clearly define the motion from one chord to the next• students learn to think about where the lines are going rather than just where their lines are.

Thinking about each individual chord and scale leads to the opposite: thinking about wherethey are and not where they are going.

• gives students another vehicle to learn their instruments. Practicing scales and arpeggios isabsolutely necessary for students to learn their instruments. Outlines enhance the learningprocess by adding the dimension of melodic direction

• students can learn and apply all types of devices for melodic invention and embellishmentusing the outlines as a point of departure. This includes rhythmic displacement, addingnotes, neighbor tones, passing tones, arpeggiated tones, octave displacement, chromatic ap-proaches, sequencing, augmentation, diminution, fragmentation and other musical devel-opmental techniques.

This cartoon may help to visualize the concept of outlines. If the entrance and exit to the park representthe single guide tones, the large dotted-line (grandmother’s path) represents the basic unembellishedoutline that connects them, and Billy’s dotted line represents the improvised embellished jazz line thatdoes not want to miss out on any of the best things. Billy’s line and his grandmother’s line intersect andthe entrance and exit to the park and may intersect at places within the park. We can imagine as theirwalk continues, that there will be times that Billy reaches a rendezvous point ahead of his grandmotherand at other times may be late and have to run to catch up. It is not hard to translate these scenariosinto musical terms.

(used by permission)

This section will explain outlines, their construction, offer examples from many artists and style periods,and suggest ways to incorporate them into ear-training, composing and improvising. For those who wantmore on the subject, there are hundreds of examples, explanations and exercises in my book on out-lines, Connecting Chords With Linear Harmony, and hundreds of exercises and applications in mybook, Comprehensive Technique for Jazz Musicians.



CONSTRUCTING the THREE BASIC OUTLINES

Outline no. 1 begins on the third of a chord and moves down the scale to the seventh. The seventh, adissonant tone, resolves to the third of the next chord. Outline no. 1 can be sequenced through a pro-gression where chord roots continue to move down in fifths. Outline no. 1 is shown below connectingthe ii7 to the V7 chord in C major and the iiø7 to the V7 chord in C minor.

Outline no. 2 begins with the 1-3-5 arpeggio, consonant notes, and then adds the dissonant seventh. Theseventh resolves as expected to the third of the chord that follows. Because the seventh resolves to thenext third, outline no. 2 is often followed by outline no. 1 which begins on the third. Outline no. 2 isshown below connecting the ii7 to the V7 chord in C major and the iiø7 to the V7 chord in C minor.

Outline no. 3 begins with the descending arpeggio 5-3-1, consonant notes, and then adds the dissonantseventh. The seventh resolves as expected to the third of the chord that follows. Because the seventh re-solves to the next third, outline no. 3 is also often followed by outline no. 1 which begins on the third, orby a 3-5-7-9 arpeggio. Outline no. 3 is shown below connecting the ii7 to the V7 chord in C major andthe iiø7 to the V7 chord in C minor.

OUTLINES OVER ii7 - V7 in MAJOR

Outline no. 1 Outline no. 2 Outline no. 3

& c œ œ œ œDm7

˙ ÓG7

œ œ œ œDm7

˙ ÓG7

œ œ œ œDm7

˙ ÓG7

OUTLINES OVER iiø7 - V7 in MINOR


& bb b c œ œ œ œDø7

˙n ÓG7

œ œ œ œDø7

˙n ÓG7

œ œ œ œDø7

˙n ÓG7

Outlines may occur over any chords whose root movement follows the cycle of fifths.

OUTLINES OVER V - I


& c œ œ œ œG7

˙ ÓC

œ œ œ œG7 ˙ ÓC œ œ œ œ

G7

˙ ÓC



OUTLINES OVER I - IV


& c œ œ œ œCmaj7

˙ ÓFmaj7

œ œ œ œCmaj7

˙ ÓFmaj7 œ œ œ œ

Cmaj7

˙ ÓFmaj7

OUTLINES OVER IV - viiø7 (IV - iiø7/vi)


& c œ œ œ œFmaj7

˙ ÓBø7

œ œ œ œFmaj7

˙ ÓBø7

œ œ œ œFmaj7

˙ ÓBø7

OUTLINES OVER iii7 - vi7


& c œ œ œ œEm7

˙ ÓAm7

œ œ œ œEm7

˙ ÓAm7

œ œ œ œEm7

˙ ÓAm7

OUTLINES OVER vi7 - ii7 or i - iv7


& c œ œ œ œAm7

˙ ÓDm7

œ œ œ œAm7 ˙ ÓDm7 œ œ œ œ

Am7

˙ ÓDm7

Outlines work when connecting diatonic chords with secondary dominants.

OUTLINES OVER iii7 - V7/ii

Do not confuse this Em7 - A7 (iii7 - V7/ii) in C major with the ii7 - V7 in D major! They may look thesame, but will create completely different expectations. With Em7 as a iii7 chord in C major, Fn would bethe expected passing tone between G and E. In D major, an F# would be expected. Not all minor seventhchords are ii7 chords even if followed by a dominant.


& c œ œ œ œEm7

˙# ÓA7

œ œ œ œEm7

˙# ÓA7

œ œ œ œEm7

˙# ÓA7



The root progression from IV to the V7/iii is down a diminished fifth but still follows the cycle of fifths.

OUTLINES OVER IV - V7/iii


& c œ œ œ œFmaj7

˙# ÓB7

œ œ œ œFmaj7

˙# ÓB7

œ œ œ œFmaj7

˙# ÓB7

OUTLINES OVER vi7 - V7/V


& c œ œ œ œAm7

˙# ÓD7

œ œ œ œAm7 ˙# ÓD7 œ œ œ œ

Am7

˙# ÓD7

Will the outlines work if the chords do not follow the cycle of fifths? Often they work if a chord is imag-ined that would make the progression follow the cycle of fifths. F to G, a IV - V progression does not fol-low the cycle of fifths progression. Imagining a Dm7 (ii7) instead of the F (IV) allows the insertion of theoutlines. Dm7 and F are clearly related and this substitution will sound good.

OUTLINES OVER IV - V


& c œ œ œ œ

F

(Dm7)

˙ ÓG7

œ œ œ œF

(Dm7) ˙ ÓG7

œ œ œ œ

F

(Dm7)

˙ ÓG7

When the progression moves down in thirds, the same principles can apply: imagine a chord thatchanges the root progression to descending fifths. C to Am7 could be Em7 to Am7 and then the out-lines are easy to apply. Em7 is not that different than C major, in fact the notes of Em7 are the 3-5-7-9 ofthe C major seventh chord.

OUTLINES OVER I - vi


& c œ œ œ œCmaj7

(Em7)

˙ ÓAm7

œ œ œ œCmaj7

(Em7) ˙ ÓAm7

œ œ œ œCmaj7

(Em7)

˙ ÓAm7

Imagine the Am7 as a Cmaj7 to change the root progression to downward fifths and then apply the out-lines. The notes of a Cmaj7 chord are the 3-5-7-9 notes of Am.



OUTLINES OVER vi - IV or i - VI


& c œ œ œ œAm7

(Cmaj7)

˙ ÓFmaj7

œ œ œ œAm7

(Cmaj7)

˙ ÓFmaj7

œ œ œ œAm7

(Cmaj7)

˙ ÓFmaj7

Alterations of chords including chains of secondary dominant chords do not change the principles ofoutlines construction. Make sure that all necessary accidentals are addressed in the basic structure andin any embellishment of the outline.

OUTLINES OVER V7/V - V7


& c œ# œ œ œD7

˙ ÓG7

œ œ# œ œD7

˙ ÓG7

œ œ# œ œD7

˙ ÓG7

OUTLINE EXAMPLES

Here are several examples of outlines extracted from the improvisations of great jazz musicians. The ex-cerpts begin with simple and move to more complex examples. The following examples are models forlinear melodic development techniques. There are hundreds of other outline examples shown in thebook, Connecting Chords With Linear Harmony, including pages of exercises and applications. There isalso a chapter devoted to outlines in the book, Comprehensive Technique for Jazz Musicians, with moreexercises and applications.

EXAMPLES of OUTLINE NO. 1

Outline no. 1 begins on the third of a chord and moves down the scale to the seventh. The

seventh, a dissonant tone, resolves to the third of the next chord.

SIMPLE SETTINGS

Tom Harrell used outline no. 1 to connect the ii7 to the V7 and the V7 to the I chord in the followingexample. The third of the Gm7 chord is chromatically approached from above through the chromaticpassing tone Bn. The half note harmonic rhythm leaves little time to embellish the bare outline byadding notes, but it remains a useful vehicle for connecting the chords.

10.1 Simple outline no. 1 over ii7 - V7 - I in F major.

& b cœ œn œb œ œ œ œ œ œ œ

Gm7 C7

œF

The same simple outline is used in ex. 10.2, but this one from Charlie Parker, is in the parallel key of Fminor. The notes necessary for establishing the key are all present: Ab and Db from the key signature,and the leading tone, En.



10.2 Simple outline no. 1 over iiø7 - V7 - i in F minor.

& c œb œb œ œ œ œb œ œbGø7 C7 jœb

Fm

The same simple outline occurred in this improvisation by Jeff Andrews. The progression is iiø7/ii -V7/ii - ii7 in the key of F major. The Eb and F# are necessary in order to modulate to the key of G minor.Andrews anticipated the Aø7 and suggested a 3-5-7-9 arpeggio over the Gm7.

10.3 Simple outline no. 1 over iiø7/ii - V7/ii - ii7 in the key of F major.

& b c ‰ Jœ ‰ Jœ œ œ œ# œb œ œAø7 D7

œ œ œ œ œGm7

Since the harmonic rhythm is whole notes in ex. 10.4, Errol Garner had more time to embellish the bareoutline. The line is embellished with diatonic notes that lead to the Eb and back down the to F#. The twonotes necessary for modulation, Eb and F#, were not hidden, but occurred at the top and bottom of theline. After resolving the seventh of D7 to the third of Gm7 (C to Bb), Garner played a 3-5-7-9 arpeggio.

10.4 Diatonic scales embellish outline no. 1 over iiø7/ii - V7/ii - ii7 in the key of F major.

& b c œ œ œ œ œb œ œ œAø7

œ œ œ# œ œ ‰ JœD7

œ œ œ œ JœGm7

There was a sequence of outline no. 1 in ex. 10.5 from a tune named for four “brothers” of the tenor sax.Outline no. 1 connected the Dm7 to the G7 and is followed by a 3-5-7-9 arpeggio. Outline no. 1 con-nected the Em7 to the A7 and to the Dm7. There was a delayed resolution to the Dm caused by the ad-dition of the arpeggiated En. The Em7 is NOT the ii7 or the iiø7 of D minor or D major: it is the iii7 of Cmajor and called for the Fn. The C# and Bb are necessary in order to tonicize the key of D minor, andthey signaled the modulation at the secondary dominant A7, the V7 of ii.

10.5 Sequence of outline no. 1 over ii7 - V7 - iii7 - V7/ii - ii

& c œ œ œ œ œ œ œ œDm7 G7

œ œ œ œ œ# œb œ œEm7 A7

œ œ Œ ÓDm7

Diatonic scale notes were used to embellish this outline no. 1 example from Harold Land. After con-necting to the G7 chord, Land arpeggiated 3-5-7-b9, borrowing the b9 from the parallel key of C minor.The lowered note, Ab, propelled the line downward. The F# is not the major seventh over a G7, but aleading tone that points back to the G before finally descending to the third of C major through the Fn.Outline no. 1 connected G7 to C. The bare descending outline (B - Ab - G - F - E) was embellished by theinverted 3-5-7-9 arpeggio and the chromatic leading tone.



10.6 Embellished outline no. 1 over ii7 - V7 - I in the key of C major.

& c œ œ œ œ œ œ œ œDm7

œ œ œ œb ‰ jœ# œ œnG7

œ œ œC

The Bb, the third of Gø7, was surrounded by its upper and lower neighbor tones in ex. 10.7 from KennyDorham. After sounding the Bb, the Ab is octave displaced to a higher register using scale tones. The Bbover the C7 usually would resolve to the third of F major or F minor. In this instance, Dorham chose toresolve to the Cb, the important identifying pitch of a Fø7.

10.7 Outline no. 1 with octave displacement over iiø7/iii - V7/iii - iiø7/ii

& bb b b b c œ œn œ œ œ œ œ œGø7 œn œ œn œ œ œ œC7

JœbFø7

OUTLINE NO. 1 over EXTENDED HARMONIC PROGRESSIONS

The harmonic rhythm changed from half notes to whole notes and Clifford Brown used outline no. 1throughout the phrase in ex. 10.8. Over the half note harmonic rhythm, Brown used a turn to suggest anupper neighbor tone. The G# and Fn over the E7 are the necessary tones that tonicize the ii7 chord Am.The C was octave displaced and Brown surrounded the A (bracket) with its upper and lower neighbortones (B and G#) before connecting to the third of D7. Brown leapt away from the F# and suggested a 3-5-7-9 inverted arpeggio over the D7 before continuing down the scale to the Bn. The Eb and Fn are bor-rowed tones from the parallel key of G minor and are the b9 and #9 of the D7. The line resolved to theconsonant third of G.

10.8 Outline no. 1 with different harmonic rhythms

& # c œ œ œ œ œ#T

œn œT

œBm7 E7

œ œ œT

œ œ# œ œ œnAm7

œ œ œ œ3

œb œn œ œ œD7

jœ ‰ Œ ÓG

This progression begins with the root moving down a third (Fmaj7 - D7). If an Am7 is imagined over theF, then it is easy to apply outline no. 1. Mike Stern played a very simple outline down to the third of D7.He leapt away from the F# and arpeggiated the D7 chord with the seventh resolving to the third of Gm7.The outline from Gm7 to C7 to F is more elaborate. The Bb was surrounded by its upper and lowerneighbor tones (a.) before moving down the scale. The F# over the C7 interrupted the downward motion.The F# and A are the upper and lower neighbor tones to the following G (b.). The outline continued un-interrupted down to the third of C7 (resolution delayed by the neighbor tone figures) and finally downto the third of F.



10.9 Outline no. 1 over turnaround progression I - V7/ii - ii7 - V7 - I

& b c ˙ ˙Fmaj7

œ œ œ œ# œ œ œD7

œ œ œ œ œ œ œGm7

œ# œ œ œn œ œ œ œC7

œFmaj7

a.b.

(Am7)

Red Garland used the simple step progression of outline no. 1 for the following extended progression.None of the chords below are diatonic to the home key of F major. The Aø7 and D7 pointed to the keyof ii, G minor, but resolved instead to G7, the V7/V. Garland addressed all of necessary accidentals sug-gested by the secondary chords. The F# and Eb pointed to G minor. The Bn created the G7 that pointedto the key of V, C major. The D7 and the G7 have delayed resolutions. Garland played the upper andlower neighbor tone where the F# was expected resolving to the D7 chord on beat two. The Bn arrives onbeat three having been encircled from above and approached chromatically from below. The chro-matic tones should be labeled using linear, and not by vertical analysis. The chromatic tones will not beheard as chord tones but as chromatic passing tones between diatonic pitches. The C# over the D7 willnot sound like a major seventh; it sounds like the chromatic passing tone pointing up to the D. The A#over the G7 will not be mistaken for a Bb, the minor third; it sounds like a leading tone to the majorthird Bn.

10.10 Outline no. 1 over iiø7/ii - V7/ii - V7/V progression

& b cœ

Œ œ œ œ œbAø7 œ œ œ# œ œb œ œ#D7

œ œn œ œ# œnG7

Clifford Brown used outline no. 1 to connect all the chords in the following progression. The Cm7 is nota ii7 chord, but a iii7 chord in Ab major, with the Db as evidence. The Bn is the leading tone to C. Brownplayed an inverted 3-5-7-9 arpeggio over the F7 both times. The rhythmic activity over the first F7 iseighth notes. The second time Brown used eighth note triplets over the F7 in order to add the extraneighbor tone embellishments. To cover more ground in the same amount of time requires morespeed, and to play more notes in the same space requires moving faster with smaller rhythmic subdivi-sions. The An and Gb that create the F7b 9 chord are the necessary tones for modulating from the key ofAb to the key of Bb minor. Brown used octave displacement over the Bbm7 and the Eb7, leaping from thethird of the chord to the ninth. The octave displacement leap usually occurs from a strong beat to aweak beat and rarely over a measure line.

10.11 Outline no. 1. with leading tones, inverted 3-5-7-9 arpeggio, octave displacement.

& bb b b 43 Ó œ œ œ œn œ œ jœn œb œCm7

œn œ œ œb œ œF7

œ œ œ3œ œ œ

Bbm7

& bb b b œ Œ jœn3œ œb œEb7

œ Œ3

œ œ œAb 3

œn œ œ3

œb œ œn3

œ œn œF7 3

œ œ œ ˙Bbm7

Outlines can be found in jazz improvisations used by traditional and modern musicians, but they werealso used by some of the greatest improvisers and composers in history. Bach used outline no. 1 tomodulate to all the closely related keys in Invention No. 11. Below, Bach used outline no. 1 in this pas-



sage over an extended diatonic progression. The F# signals the change from Bb major to G minor. Theprogression suggests Cm7 - F7 - Bb - Eb - Aø7 - D7 - Gm = ii7 - V7 - I - IV - iiø7/vi - V7/vi - vi or ii7/bIII -V7/bIII - I/bIII - VI - iiø7 - V7 - i.

10.12 J. S. Bach: English Suite No. III, Prelude

&

?

bb

b b

83

83

œ œ œ œ œ œJœ ‰ ‰œ œ œ œ œ œ

œ œ œ‰ Jœœ Jœœ

œœ œ œ œ œ

œ œ œ œ œ œJœ ‰ ‰œ œ œ œ œ œ

œ œ œ‰ Jœœ Jœœ

œœ œ œ œ œ

œ œ œ œ œ œJœ ‰ ‰œ œ œ œ œ# œn

œ# œ œ‰ Jœœ Jœœ

œ œ œ œ œ œ

jœJœ

rœ

Bach used outline no. 1 in this passage with octave displacement. Notice the leap occurred from thedownbeat to the upbeat. Play this with jazz articulations and it swings.

10.13 J. S. Bach: Sinfonia No. 3

&

?

##

# #

42

42

œ œ œ œ œ œ œ œ

œ œ œ œ

Rœ

Jœ

OUTLINE NO. 1 with CHROMATIC APPROACHES

These next two examples contain double chromatic approaches to the third. Ex. 10.14 is from CliffordBrown and 10.15 is from Sonny Rollins. If melodic pitches were analyzed vertically, there could not bemore ambiguous or incorrect sounding “avoid” notes over Cm7 than the C# and the En or the F and Abover the Em7. But these notes are not heard vertically: melodies are linear. These notes are not the b9and the major third of a minor chord, but melodic chromatic approach tones that lead to the unam-biguous minor third. Both of these excerpts followed the ambiguous chromatic portion with strictly dia-tonic lines. Brown began on beat two and Rollins on beat three. Brown used a inverted Cm7 3-5-7-9arpeggio that extended over the measure line and managed to land on the third of F7 and Bb on thedownbeats.

10.14 Outline no. 1 with double chromatic approach to the third of the ii7 chord

& bb c Œ œ# œ œ œn œb œCm7

œ œ œ œ œ œ œ œF7

jœBb

10.15 Outline no. 1 with double chromatic approach to the third of the ii7 chord

& ## c Ó œn œ# œ œbEm7 œ œ œ œ œ œ œ œA7

œ Œ ÓD



The third of Dm7 was chromatically approached from a whole step above and the third of G7 waschromatically approached from a whole step below in this example from Sonny Stitt. Stitt played a 3-5-7-9 arpeggio over the G7.

10.16 Outline no. 1 with chromatic approach to the third

& c œ œb œ œ œ œ œ œ#Dm7

œ œ œ œ ÓG7

A 3-5-7-9 arpeggio led to the high Bb which began outline no. 1 in this excerpt from Roger Pemberton.The G was preceded by its lower then upper neighbor tones, F# and A. The En was approached and en-circled from above and below, landing on beat three. The outline in its simple form then led to thethird of F. The Db, the b9 of C7, is a borrowed note from the parallel key of F minor.

10.17 Outline no. 1 with 3-5-7-9 arpeggio, chromatic approach tones, and borrowed b9

& b c ‰ jœ 3œ œ œ œ œ œ# œGm7 œ œ œ œ# œ œb œ œC7 jœ

F

Any diatonic tone may have a leading tone. The C# below is a leading tone that points to the D, and theG# a leading tone that points to the A. The leaps to the leading tones, which are both resolved to chordtones gave this line angularity. Sonny Rollins used two 3-5-7-9 arpeggios. The first arpeggio occurredover the Dm7 was inverted and included the G# leading tone to A; the second was clearly stated over theG7. Following voice leading principles, the A, the ninth of G7, resolved to the fifth of C.

10.18

& c œ œ# œ œ œ œ# œ œnDm7

œ œ œ œ œ œ œ œG7

Jœ ‰ Œ ÓC

3-5-7-9 ARPEGGIOS APPLIED to OUTLINE NO. 1

The simple outline no. 1 is often embellished by using a 3-5-7-9 arpeggio after arriving at the third of achord. The 3-5-7-9 arpeggio may ascend in thirds (a.) or be inverted (b.) down a sixth before ascending.

10.19

& c œ œ œ œ œ œ œDm7

œ œ œ œ ˙G7

œ œ œ œ œ œ œDm7

œ œ œ œ ˙G7

a. a. b. b.

In ex. 10.20, Red Garland used the inverted arpeggio over the V7/iii - iii7 progression. Notice that thenecessary accidentals (F# & An) to get from Eb (3bs) to the key of G minor (2bs) were unambiguouslyplaced. Dexter Gordon, in ex. 10.21, used a triplet rhythmic figure when arpeggiating the Fm7, and fol-lowed the outline down to the third of Eb using diatonic pitches.



10.20 Simple versions of outline no. 1 using 3-5-7-9 arpeggio:

& bb b c œ# œn œ œ œ œ œ œD7

JœGm7

10.21

& bb c3

œb œ œ 3œ ‰ œ œ œFm7 .œ Jœ œ œ œ œbBb7

œEb

Red Garland used 3-5-7-9 arpeggios to embellish each chord in ex. 10.22. Garland played an ascending3-5-7-9 arpeggio over the Dm7, an inverted one over the G7, and an ascending one over the Cmaj7.Outline no. 1 is still evident and is shown with the circled notes. Garland’s arpeggio over the Dm7 mir-rors the one used by Roger Pemberton in ex. 10.17. The resolution to the G7 was delayed until beat twoby the suspended fourth degree. Is this fourth an “avoid” note? After arriving at the Bn, Garland playedan inverted 3-5-7-9 arpeggio with the borrowed b9. The Fn on beat four of the G7 measure pointed downto the third of C, but the F# changed the direction of the line: the F# had to ascend to the G on the fol-lowing downbeat. The line descended from G through the Fn and resolved to the En on beat two. Garlandthen used a 3-5-7-9 arpeggio over the Cmaj7.

10.22 Outline no. 1 using 3-5-7-9 arpeggios:

& c ‰ jœ3

œ œ œ œ œ ŒDm7

3œ œ œ œ œ œ œb œ œ#G7

œ œ3

œ œ œ œ œC

The basic structure of ex. 10.23 is similar to the 10.22 in its use of 3-5-7-9 arpeggios. Garland aimed forthe third of D7 by encircling the F# with its upper and lower neighbor tones. After arriving at the third(F#), the expected 3-5-7-9 arpeggio occurred, inverted this time. Notice in the previous example thearpeggio for the first measure was ascending and in the second measure was inverted. In this excerpt thedirections were reversed: the first measure had the inverted and the second measure the ascendingarpeggios. Garland used a b9 over the D7 borrowed from G minor and a b9 over the G7 borrowed fromC minor.

10.23 Outline no. 1 using 3-5-7-9 arpeggios

& c œ œ œ# œ œ œb œ œ#D7

œ œ 3œ œ œ3œb œb œ œ œ#

G7 œ œ œ œ# JœC

The melodic shape Garland used to get from G7 to C in ex. 10.22 is identical to the shape he used to getfrom D7 to G7 in ex. 10.20 and 10.23 as shown below.



10.24 Similar treatment using 3-5-7-9 arpeggios

&

&

c

c

œn œ œ œb œ œ#G7

œ# œ œ œb œ œ#D7

œ œ3

œ œ œ œ œC

œ œn 3œ œ œ JœbG7

From ex. 10.22

From ex. 10.20 and 10.23

Several devices make this Red Garland outline no. 1 example interesting. The chromatic triplets betweenthe root and third of the Am7 energized the line and generated forward motion. The leap created by theinverted 3-5-7-9 arpeggio on the D7 is a welcome change from the preceding tight chromatic move-ment. An interesting sawtooth shape was created on beats three and four of m.2 by pivoting between thestationary A pedal tone and the moving notes D to C.

10.25 Outline no. 1 and 3-5-7-9 arpeggios

& b c3

œ œ œn3

œ œ œb œ œb œ œAm7

œ# œ œ œb œ œ œ œD7

3œ œ œ œ œGm7

MORE COMPLEX EXAMPLES of OUTLINE NO. 1

Complex melodic ideas are easier to create and hear when they are based on simple structures like theoutlines. This very exciting and complex line in ex. 10.26a from Charlie Parker was based on outline no.1. Parker began as if to play the outline without elaboration and then repeated the first three notes. Therepetition set up a syncopation that continued throughout the excerpt. The An was approached by twochromatic lines: one from above (C - Bn - Bb - A) and one from below (G - G# - A). On the downbeat ofthe F7 measure, Parker played the upper and lower neighbor tones rather than the expected A, and theresolution on beat two added to the rhythmic syncopation. The Gb, the b9 borrowed from Bb minor,pulled toward the Fn, but before resolving to Fn, Parker leapt below and approached the F chromaticallyfrom Eb and En. Parker leapt away to the chord tone A after reaching the Fn. The final goal note was theDn, the third of Bb, and it was approached from above (F - Eb - D) and below (A - Bb - C - C# - D). It isdifficult to imagine that Parker was able to spontaneously invent this melodic line at 300 bpm with outhaving, at much slower tempos in the practice room, isolated individual elements.

10.26a Outline no. 1 with multiple chromatic tones (simple outline shown on lower staff)

&

&

bb

b b

c

c

œ> œ œ œ> œ œ œn œœ œ œ

œb œ# œ>

œb œ œn œ>

œœb œ œb œ

œ œ>

œ œ# œ> Œ

œ œ



10.26b Polyrhythms implied by the melodic line

& bb c.œ .œ œ

œ œ œ œ œ œ œn œœ ˙ .œœ œ# œ œb œ œn œ œ

.œ ˙

œ œ œ œ# œ Œ

When a single pitch is approached from two directions it suggests a wedge. Three significant pitches areapproached with these wedges in ex. 1026a.

10.26c

& bb c œ œn œ œb œ# ˙ œb œ œn ˙ œ œ œ œ œ œ# ˙

The simple descending step progression of outline no. 1 was disguised by John Scofield using octavedisplacement and melodic wedges in ex. 10.27. The simple outline is shown with the circled notes. Theline began with D, the third of Bb7, then the Cb was octave displaced. The Cb resolved step wise to the Bb.The step from Bb to Ab was interrupted by the chromatic En to F. The En is the lower neighbor tone to theF, the fifth of the Bb7 chord. These tones ultimate resolved up to the Gb, the target note of the Ebm7chord. The Gb was approached stepwise from above (Cb - Bb - Ab - Gb) and chromatically from below (E -F - Gb). The angularity of the line continued to the end when Scofield, after resolving the two lines to theGb, suddenly jumped to the Bbb implying an Ebø7 rather than an Ebm.

10.27 Outline no. 1 with octave displacement and melodic wedges

&

&

bb b b b

b b b b b

c

cœn œœœnn( )

œb œ œn ‰ jœ ‰ jœBb7b9

œb œ œœn œ

œ œ œ∫ œ ŒEbm7

˙

Red Garland used a complex embellished version of outline no. 1 in the double-time passage shown inex. 10.28. Garland aimed for the third of each chord. Not all of the target notes arrived where the chordsymbols indicate on the downbeats. He began on the third of Cm7 on the downbeat; he delayed theresolution to F7 by an eighth note; delayed the resolution to Bb by a quarter note; arrived on the beatfor G7, and finally anticipated the Cm7 by a sixteenth note.



10.28a Double-time step-progression

&

&

bb

b b

c

c

œ œ œ# œ œ œb œ œ œn œ# œ œ œ œb œ œnCm7 F7

œ œ œ œ œ œb

œ œ œ œ# œ œn œ œ# œn œb œ œ# œ œ œn œBb G7 Cm7

œ œ œ œ œn œb œ œ œAfter arriving at the third of F7, Garland played an inverted 3-5-7-9 arpeggio (in box) which included theb9, Gb. The Gb directed the momentum to the Fn, but Garland leapt past the F and approached it from be-low. Garland used a recurring melodic figure that gave the line a sense of unity. The notes A, F, D, Bn andG were all approached by the same chromatic four note figure shown by the brackets.

10.28b

& bb c œ œ œ# œ œ œb œ œ œn œ# œ œ œ œb œ œnCm7 F7

œ œ œ œ# œ œn œ œ# œn œb œ œ# œ œ œn œBb G7 Cm73-5-7-9

Red Garland began the line in ex. 10.29 with a chromatic approach to the third of the Dø7. The D, Bn, Gand E were all approached using the exact four note figure from ex. 10.28: an upper neighbor tone andchromatically from a whole step below (shown by upper brackets). Garland played the 3-5-7-9 arpeggioof G7 in the middle of the measure. The target thirds did not occur on the downbeats: the thirds of Dø7and G7 occurred on beat two and the third of Cmaj7 was delayed until beat three. The displaced targetthirds create an interesting contradiction to the meter. There are two ways of explaining the results: ei-ther the addition of the chromatic notes delayed the resolution to the thirds which created a sense ofdisplaced meter; or in order to displace the meter Garland added additional chromatic notes.

10.29 Outline no. 1: rhythmic displaced and chromatically approached thirds

& œ œb œ œb œ œ# œ œnDø7

œ œ# œ œ œ œb œ œ#G7

œ œn œ œ# œ œC

The melodic line played by Red Garland from ex. 10.29 could be played with the target thirds arrivingon the downbeats. The brackets show the four-note chromatic figure. The line would still interesting evenwithout the metric contradiction due to the chromatic additions.

10.30 Outline no. 1: 10.29 with out the rhythmic displacement

& c œ œb œ œb œ œ# œ œn œ œ#Dø7

œ œ œ œb œ œ œ œ#G7

œ œC

Outlines are often used over modal tunes to suggest harmonic progressions where there are none. RandyBrecker implied a Gm7 - C7 progression over this passage in G dorian. The F# and A are neighbor tones



that surround the G. There was a wedge that points to the En from above (Bb - A - G - F - E) and below (D- D# - E). The arpeggio, E - G - Bb - D, suggested the 3-5-7-9 of a C7 chord.

10.31 Outline no. 1 suggested in modal setting

& b c œ œ œ# œ œ œ œn œ# œ œ œ œG Dorian


Outline no. 2 begins with the 1-3-5 arpeggio and then adds the dissonant seventh. The seventh

resolves as expected to the third of the chord that follows.

SIMPLE SETTINGS

Outline no. 2 could be called the ‘Round Midnight outline as it occurs twice in the melody to theThelonious Monk piece by that name. Here is one of the occurrences as it appears in the piece con-trasted with an interpretation by Wes Montgomery. Montgomery used the fifth of the Ebm7 chord as apick up note, played the arpeggio to the seventh and then used a chromatic approach to the C. The useof sixteenth note triplets adds rhythmic drive to the simple outline.

10.32 Outline no. 2 simple form

& bb b b b c Œ œ œ œ œ ˙Ebm7 Ab7

‰ . rœ6

œ œ œ œ œ œn ˙Ebm7 Ab7

Over a blues progression in F, Jeff Andrews used outline no. 2 to connect the Gm7 to the C7, andapproached the E chromatically from below.

10.33 Outline no. 2 with common chromatic approach

& b c ‰ jœ œ œ œ œ œ œ#

Gm7

œC7

The end of the first phrase of progression no. 23 modulates from Ab to C major. Typically a iiø7 - V7 ofC minor is used that would resolve to C major. Using the minor iiø7 - V7 makes a smoother transitionbecause C minor is a closely related key to Ab (4bs to 3bs, I to iii). Jimmy Heath played this simple ver-sion of outline no. 2 over that part of the progression shown in ex. 10.34. When arriving at the Cmaj7chord, he arpeggiated 3-5-7-9 which cleared the musical air of any feeling of Ab major and established Cas the new (temporary) tonal center.



10.34 Outline no. 2 over iiø7 - V7 resolving to major I

& c œ œ œb œ œ œb œ œDø7 G7

œ œ œ œ œ œŒ

C

The first note of outline no. 2 is omitted in the next two examples from Mike Stern. These lines beginwith a chromatic leading tone to the third of the first chord. The general shape and character of the out-line is retained. Voice leading is adhered to in both examples. The seventh of Em7 resolves to the thirdof A in both cases. After playing a 3-5-7-9 arpeggio, the ninth of A7 resolves to the fifth of D in 10.35a.The seventh of A7 resolves to the third of D in 10.35b.

10.35a Outline no. 2 variation 10.35b Outline no. 2 variation

& b c œ# œ œn œ œ# œ œ œnEm7 A7

JœD

& b c ‰ jœ#3

œ œn œ œ# œ œ œEm7 A7

Jœ#D

It is a common practice to use melodic sequences over sequential harmonic passages. Outlines are idealvehicles for sequential material. Red Garland used outline no. 2 over these chromatically sequenced ii7 -V7 chords in ex. 10.36.

10.36 Outline no. 2 in sequence

& b c ‰ jœb3œb œb œb œ Œ

Abm7 Db7‰ jœ

3œ œ œ œ œ‰ Jœ

Gm7 C7 œF

PASSING TONES

Outline no. 2 begins with an arpeggio. The skips between the chord tones of an arpeggio lends itself tothe use of passing tones. With the passing tones added to the arpeggio, why not call it a scale? It may bebetter to think of the chord tones being connected by passing tones to expedite the understanding ofharmonic specificity. The main chord tones of the outline typically land on the strong beats with thepassing tones on the weaker beats which allows the basic shape of the outline to be heard as an arpeggiowith passing tones. The passing tone between the fifth and seventh is never used. Why? That passingtone is the pitch to which the line points: it is the third of the chord that follows. Sounding it ahead oftime diminishes the impact of the final resolution. The third of the second chord has a stronger senseresolution when preceded by the seventh of the first chord. This is illustrated below over a ii7 - V7 in thekey of C. The E and G are available as passing tones, but the Bn between A and C is not used over theDm7 in order to save it for the G7.

10.37 Outline no. 2 with available passing tones

& c œ œ œ œDm7

œ œ ¿ ˙G7



These two excerpts from improvisations by Clifford Brown illustrate the use of passing tones and outlineno. 2. In neither example was the third of the second chord prematurely played. In ex. 10.39, Brown de-layed the start of the outline and did not get to the Bn, the identifying note of the G7 chord until beattwo. He then descended using outline no. 1 and chromatically approached the third of C.

10.38 Outline no. 2 with passing tones

& b c Œ œ œ œ œ œ œGm7

œ Œ ÓC7

10.39 Outline no. 2 with passing tones followed by outline no. 1

& c Ó œ œ œ œDm7

œ œ œ œ œ œb œ œ#G7

œ Œ ÓC

LOWER NEIGHBOR TONE (LNT) or LEADING TONE (LT) CHROMATICISM

Chromatic notes can add interest to any melodic line. Charlie Parker began this line with a leading toneto the G. This F# did not harmonically suggest a G minor chord with a major seventh; it functionedmelodically as a leading tone. Outline no. 2 followed with the Gm7 arpeggio, with an Fn on the top, and achromatic approach to the anticipated third of the C7 chord. Parker continued sequencing the chro-matic passing tone idea. At the second bracket, Parker suggested outline no. 1 for Gm7 - C7. The E-G-Bb-Db arpeggio in the final measure were unresolved notes of the C7 chord, the logical end of the outlineno. 1 idea. It would be foolish to analyze the E-G-Bb-Db as notes vertically related to the F chord. Theybelong to the C7 chord, and created a delayed resolution to F.

10.40 Outline no. 2 with LTs followed by outline no. 1

& b c ‰ jœ#3

œ œ œ œ œ œ# œGm7

œ œ# œ œn œ œ œ œC7

œ œ œ œb œ œ ŒF

3-5-7-9 ARPEGGIOS

A leading tone can become a lower neighbor tone when preceded and followed by the chord tone.Clifford Brown embellished outline no. 2 using a lower neighbor tone and passing tones. Note that Bnwas not used as a passing tone over the Dm7 between the A and C, but saved for the G7 chord. After ar-riving at the Bn, Brown played an inverted 3-5-7-9 arpeggio borrowing the Ab and Bb from the parallelkey of C minor, and resolves to the En. The borrowed tones, Ab and Bb, the b9 and b9 of the G7 chord, aslowered tones create a downward pull and help the line move back down to the En.

10.41 Outline no. 2 with LNT inverted 3-5-7-9 arpeggio and borrowed tones

& c œ œ# œ œ œ œ œ œDm7

œ œ œ œ3

œb œb œ œ œG7

œ Œ ÓC



Outline no. 1 is a natural choice to follow outline no. 2 since no. 2 leads to the starting note of outlineno. 1. Garland illustrates this in the following example. Outline no. 2 is simply stated in the first measure.An A# leading tone precedes the Bn, and the G7 chord is anticipated by one beat. The characteristic 3-5-7-9 inverted arpeggio begins outline no. 1 from G7 to C. Outline no. 1 is the step line Bn - Ab - G - F - E.The inverted 3-5-7-9 arpeggio, the chromatic approach figures F - F# - G and D - D# - E all help the lis-tener hear the simple outline by pointing out the step progression on the top of the line. Garland alsoused a 3-5-7-9 arpeggio on the Cmaj7 chord.

There was an interesting contradiction in harmonic rhythm between what the chords indicated and whatGarland played in ex. 10.42. The chord symbols implied a harmonic rhythm of whole notes: four beatsper chord. Garland began Dm7 late on beat two, anticipated G7 by a beat and played the Cmaj7 ontime. Garland implied the harmonic rhythm of two beats of Dm7, five beats of G7 and then back to fourfor Cmaj7.

10.42 Outline no. 2 followed by outline no. 1 including 3-5-7-9 arpeggios

& c Œ3

œ œ œ œ œ# œ œDm7

œ œb œ œ# œ œn œ œ#G7

œ3

œ œ œ œ œC

Garland again used outline no. 2 followed by outline no. 1 in ex. 10.43. The outlines are indicated by thetwo brackets. The Am7 is not a ii7 of G, but a iii7 from the key of F. In F, the upper neighbor tone to A isBb, and that is where Garland began his line. The A was approached above and below through thechromatic leading tone G#. The A began outline no. 2, an En was added which allowed the F# to land onthe downbeat. The D7 is the V7 of G minor, not G major, as evidenced by the Eb. The C# is not a majorseventh over a dominant chord, but a linear melodic chromatic tone leading to the D. The Cn is the dis-sonant seventh of D7 that points to the third of G, which instead of being a Gm7 chord, is made a G7,the V7 of C, by the use of the Bn. It is important to understand that while this may look like a ii7 - V7 - Iin G, it is not. The proof is in the chosen melodic notes. The progression is iii7 - V7/ii - V7/V.

10.43 Outline no. 2 followed by outline no. 1 over iii7 - V7/ii - V7/V progression

& b c œ œ œ# œ œ œ œ œAm7

œ# œb œ œ# œ œ3œn œ œ œ

D7

œn œœG7

Garland again used outline no. 2 followed by outline no. 1 in the following examples. The G, E and Cnwere approached from below through chromatic leading tones. The C7 and Fm7 were anticipated andGarland played a 3-5-7-9 arpeggio over both chords after landing on the third. Outline no. 2 connectedGm7 to C7 and outline no. 1 connected C7 to Fm7.

10.44 Outline no. 2 followed by outline no. 1 including 3-5-7-9 arpeggios

& œ œ#3

œ œb œ œ œ# œ œGm7

œb œb œ œn œ œ œb œbC7

‰ jœb œ œb œ œn œ œFm œb œb œ œ œ œ

The third of Dø7 was approached chromatically from above and then the line moved down to the rootto begin outline no. 2 in this Red Garland excerpt. The Bn was preceded by its leading tone and began



the seemingly obligatory 3-5-7-9 arpeggio. Garland, in order to change the direction of the line, used theF# to pull back up to the G before going down the Fn which pointed and resolved to the E.

10.45 Outline no. 2 followed by outline no. 1 including a 3-5-7-9 arpeggio

& c œ œb œ œb3

œ œ œb œ œ#Dø7

œ œ œ œb œ œ# œ œnG7

œ œ ‰ jœ œ œ ŒCmaj7

Two ideas were combined in ex. 1047 from Errol Garner. Garner suggested outline no. 2 to connect Gm7to C7, and used outline no. 1 to clearly connect C7 to F. Within the outlines, Garner suggested a com-monly used chromatic line to get from G to E. This chromatic line begins on the root of the ii7 chordand moves chromatically through the major and minor seventh resolving to the third of the V7 chord.Jerry Coker calls this movement a C.E.S.H. or chromatic elaboration of static harmony. This is the mostcommon of many possible C.E.S.H. patterns. This kind of chromatic motion can be found on tunesranging from My Funny Valentine to Led Zeppelin’s Stairway to Heaven.

10.46 Outline no. 2 Common Chromatic line (C.E.S.H.)

& œ œb œ œGm7 ˙ ÓC7 ˙ œ# œnGm7 ˙ Ó

C7

10.47 Combination of outlines and common chromatic line

& b c ‰ jœ# œ œ œ œ œ# œ œ œ#Gm7

œn œ œ œn œ œ œ œC7

œ œF

A similar chromatic line or C.E.S.H is in this Sonny Rollins line. Outline no. 2 was suggested even thoughthe triad arpeggio descended rather than ascended. Regardless of the direction of the arpeggio, the dis-sonant notes over the Cm7 were resolved to the A, the third of F.

10.48 Outline no. 2 and common chromatic line

& ‰ Jœ ‰ jœ ‰ Jœ œn œ œb œCm7

œb œ œ# œF7


Outline no. 3 begins with the descending arpeggio 5-3-1 and then adds the dissonant seventh.

The seventh resolves as expected to the third of the chord that follows.

SIMPLE SETTINGS

This line is ubiquitous, and could be credited to thousands of artists. Improvisers often rely on the basicoutlines when the harmonic rhythm is half notes, because there is little time for embellishment.



Coltrane played ex. 10.49a in his improvisation on progression no. 24. After reaching the third of D7, heused outline no. 1 to connect D7 to G. John Scofield played the same line over a vi7 - V7/V - V7 in aturnaround in the key shown in ex. 10.49b.

10.49a 10.49bOutline no. 3 followed by outline no. 1 in G Outline no. 3 & outline no. 1 in Db

& # c œ œ œ œ œ œb œ œAm7 D7

JœG

& bb b b b c œ œ œ œBbm7

œ œb œ œ JœEb7 Ab7

The next four examples are identical except for the key. They all used 3-5-7-9 arpeggios after playing out-line no. 3. Ex. 10.50a is from a composition by Jimmy Guiffre, 10.50b from a line by Tom Harrell. Ex.10.50c and 10.50d are from Mike Stern.

10.50a 10.50bOutline no. 3 followed by 3-5-7-9 arpeggio in B Outline no. 3 & 3-5-7-9 arpeggio in F

& ### # # œ œ œ œ œ œ œ œC#m7 F#7

œ œB

& b œ œ œ œ œ œ œ œbGm7 C7

œ œF

10.50c 10.50dOutline no. 3 & 3-5-7-9 arpeggio in Gb Outline no. 3 & 3-5-7-9 arpeggio in D

& b œb œb œb œb œ œ œ œ∫Abm7 Db7Jœb

Gb& b œn œ œ œ œ# œ œ œEm7 A7

The six above examples are in six different keys. Three of the keys are on the dark side of the circle offifths (Db = 5bs, B = 5#s, & Gb = 6bs or F# = 6#s). Dark because it is so rarely visited in many practicerooms, and dark because of the number of sharps and flats in the key signatures. To play this music well,students must play in all twelve keys. If not, which keys should be left out of practice routines?

CHROMATIC APPROACHES

Chromatic notes can be added to outline no. 3 when the harmonic rhythm allows time. Charlie Parkermanaged to get extra notes in with half note harmonic rhythm which delayed the Bb resolution to beattwo. The Ab and Gb are the altered ninths of F7 and are borrowed from Bb minor. The Gb pointed to theF, but Parker reached below and approached F with a chromatic passing tone En, then the F and Eb led tothe Dn, the target note for Bb. After the delayed resolution, Parker clarified the Bb chord by playing a 3-5-7-9 arpeggio, encircling the root and playing the triad arpeggio again.

10.51 Outline no. 3 with chromatic approach, altered ninths, delayed resolution, & 3-5-7-9arpeggio

& bb c œ œ œ œ œ œb œb œ œnCm7 F7

œ œ3

œ œ œ œ œ œ œBbmaj7

Jœ.œ Ó



C.E.S.H.

The step motion between the root of the first chord to the third of the second chord in outline no. 3lends itself to the C.E.S.H. One added chromatic note creates the C.E.S.H.

10.52 Outline no. 3 with added chromatic note

& b c œ œ œ œ#( ) œnGm7

˙ ÓC7

The fifth of the ii7 chord is often used as a pivot note below the chromatic motion to create an angularsawtooth motion. The lower note may altered to approach the third of the V7 chord creating a doublechromatic approach. Sometimes the addition of the chromatic device will delay the resolution to the V7chord.

10.53 With pivot note Pivot note & chromatic approach

& b c œ œ œ œ œ# œ œnGm7

˙ ÓC7 œ œ œ œ œ# œ# œn

Gm7

˙ ÓC7

10.54 A C.E.S.H. is evident in this typical figure.

&

?

b

b

c

c

..

..

œ œœ œ# ‰ Jœœ ‰ jœnGm7

.œ Jœ œ œ

‰ Jœœ ‰ jœ ‰ Jœœ ‰ jœ#C7

.œ jœ œ œOutline no. 3 with a C.E.S.H., a lower pivot note and a chromatic approach are present in this line fromFreddie Hubbard. Hubbard used outline no. 1 to connect the C7 to F with a 3-5-7-9 arpeggio and alteredninths.

10.55 Outline no. 3 with C.E.S.H.

& b c œ œ œ ¿ œ# ¿ œn ¿#Gm7

œ œ œ œ 3œb œb œ œ œC7 jœ

Fmaj7

Cannonball Adderley was fond of the chromatic approaches applied to outline no. 3. Ex. 10.56a is froma piece with traditional changes. Cannonball implied a Dm7 - G7 progression over a modal Gmixolydian setting in ex. 10.56b and 10.56c.



10.56a Outline no. 3 with C.E.S.H.

& bb b b c œ œ3

œ œ œ œn œ3

œ œ œ

Bbm7

œb œ# œ œ ˙Eb7

10.56b

& 46 jœ3

œ œ œ œ# œ œn œ œ œG Mixolydian

10.56c

& 46 œ œ œ œ œ# œ œ œ œn œ œ œ jœ .œG Mixolydian

There are two occurrences of outline no. 3 in ex. 10.57. Each is set in very different ways by Keith Jarrett.The Fm7 is connected to the Bb7 using outline no. 3, but the chromaticism caused a delayed resolutionto the Bb7. The second setting of outline no. 3 has no chromatic elaboration and connects the Bb7 to theEb. Rhythm plays a key part in this example. The triplet speeds up the line in order to reach the goalnote over the Bb, and the sixteenths are a diminution of the outline that seems to push the line early tothe Eb chord. The long note Ab followed by a rest relaxes the previous compression and the quarter notetriplet changes the pace one more time. The changing pace of melodic lines is a stylistic trademark ofJarrett and his trio.

10.57 Two different settings of outline no. 3

& bb c œb œ œ œ œ œ œ œFm7

3œn œ œb œ œ œ œ ˙bBb7

3

Œ œœœ œœ

Eb

The rhythms below illustrate another way to get a stop and go feeling to a line. Roger Pemberton usedoutline no. 3, encircled the Bb and the G, impled a C.E.S.H. before landing on the third of C7 and used a3-5-7-#9-b9 arpeggio. The longer values occurring on the downbeats relaxed the forward motion.

10.58 Stop & go rhythms with outline no. 3

& b c œ œ œ œ œ œ# œGm7

œ ‰ jœn3

œ œ œ œb œbC7

œF

A compound melody was suggested in the Sonny Stitt line shown in ex. 10.59. The top of the line sug-gested a chromatic Bn - Bb - A. The bottom of the line suggested the common chromatic motion E - D# -Dn - C#. Stitt began with an ascending arpeggio but by the second measure Stitt played the unaltered out-line no. 3 with the descending arpeggio followed by a 3-5-7-b9 arpeggio over the A7.



10.59 Outline no. 3, C.E.S.H. & compound melodic voice leading

& ## c œ œ œ œ# œ œ œn œEm7

œ œ œ œ œ œ œ œbA7

œ œDmaj7

Outline no. 3 was suggested by John Scofield in the two excerpts shown below. The chromatic C.E.S.H. issuggested, however Scofield skipped over the root of the C#m7 chord jumping to the leading tone Cn(B#). The 5-3-maj7 created an augmented triad arpeggio. The arpeggio was repeated leaping to the m7(Bn) which resolved to A#, the third of F#7. Outline no. 1 followed with an octave displacement leap tothe b9 that descended to the third of B. The second example began as the first with the augmentedarpeggio 5-3-maj7, encircled the root, and played just the guide tone notes (3-7-3) in the secondmeasure, and ended encircling the third of A.

10.60 Outline no. 3 with C.E.S.H.

& Œ œ# œ œ œ# œ œ œ# œn œ# œC#m7 F#7

jœ#B

œ# œ œ# œ# œ œ œBm7

œ œ œ#‰ jœ œ œ

E7

jœ#A

COMBINATION of OUTLINES

Outlines are often used sequentially and in combinations with other outlines.

SIMPLE SETTINGS

Hank Mobley squeezed three outlines into three measures. Outline no. 2 connected the Am7 to the D7and was sequenced with diminution connecting the Dm7 to the G7. Outline no. 1 followed connectingthe next Dm7 to G7.

10.61 Outline no. 2 sequenced & outline no. 1

& bb c 3œ œn œ œn œ jœ œ# œ ŒAm7 D7

Œ œ œ œ œ œn œ œ œbDm7 G7 œ œn œ œ JœnDm7 G7

In the same improvisation, Mobley played a similar combination of outline no. 2 and outline no. 1.

10.62 Outline no. 2 & outline no. 1

& bb c Œ œ œ œ œ œn œDm7 G7 œ œb œ œn œ œ JœnDm7 G7

Outline no. 1 connected D7 to Gm7 in the Mike Stern line in ex. 10.63. After encircling the Bb and the Gwith upper and lower neighbor tones, Stern played outline no. 2 to connect Gm7 to C7. The resolutionto C7 was delayed to beat three. An unembellished outline no. 1 connected the C7 to F.



10.63 Outlines no. 1, no. 2 & no. 1

& b c Ó Œ œ œAm7

œ# œb ‰ Jœ ‰ Jœ œ œD7

œ œ œ œ œ œ# œ œGm7

œ œ œb œ œ œ œ œC7

œ œF

Outline no. 1 and outline no. 3 were used in this turnaround line from Charlie Parker. The chromaticmotion over the dominant chords was sequenced.


& bb b b c œ œ œ œ œn œb œ œnCm7 F7 œ œ œ œ œ œb œ œnBbm7 Eb7 œAb

Turnaround progressions, like those in the two previous examples, occur in hundreds of standard jazzprogressions. The common turnaround progression is: I (or iii7) - V7/ii - ii7 - V7 - I. Good practice timeshould be spent learning various combinations of outlines to negotiate the harmonic turnaround pro-gressions. There are nine possible combinations of outlines over the turnaround which are shown belowin the key of C. Remember that practice is to prepare for an actual performance. In an actual perfor-mance, all of the outline combinations may be possible, but so are many other musical ideas includingtriadic generalization, and the very important concept: silent space.

10.65 Turnaround with Nine Possible Outline Combinations

Outline no. 1 & outline no. 1

& œ œ œ œ œ# œb œ œEm7 A7

œ œ œ œn œ œb œ œDm7 G7

˙C


& œ œ œ œ œ# œ œ œEm7 A7

œ œ œ œn œ œb œ œDm7 G7

˙C


& œ œ œ œ œ# œb œ œ#Em7 A7

œ œ œ œn œn œb œ œ#Dm7 G7

˙C



œ œ œ œn œn œb œ œDm7 G7

˙C






˙C


& œ œ œ œ œ# œb œ œ#Em7 A7


˙C



œ œ œ œn œn œb œ œDm7 G7 ˙C


& œ œ œ œ œ# œ œ œEm7 A7


˙C


& œ œ œ œ œ# œ œ œbEm7 A7

œ œ œ œn œn œ œ œbDm7 G7

˙C

MORE COMPLEX EXAMPLES of OUTLINE NO. 3

This melodic line from Hank Jones is either outline no. 1 or no. 3 in two octaves. Adding passing tonesto outline no. 3 makes it difficult to distinguish from outline no. 1. Either way, Jones accentuated the im-portant pitches and resolved voices as expected. The C# in the second measure was approached chro-matically from above (E - D# - Dn - C#) and below (B - Cn - C#).

10.66 Outline no. 1 or no. 3

&

&

&

##

# #

# #

c

c

c

œ œ œ œ œ œ œ# œ œn œ œ ≈ œ œEm7

œ œ œ œn œœ œ œ œn œ

œ œ œ œ œ# œ œ3

œ œ œ œ œ# œ œn œn3

œ# œ œbA7

œ œ œ œn œ# œb

œ œ œ œn œ# œb

œ .œ œD

œ

œ

Outline No. 1

Outline No. 3



TRIAD GENERALIZATION REMINDER

It is easy to get caught up in the details and challenges of harmonic specificity and forget that there areother approaches. Errol Garner approached this progression in two different ways in the same improvi-sation. In ex. 10.67, he was very specific about each chord, using two different outlines and an arpeggioof the Gm7 chord. In ex. 10.68, Garner primarily used the F triad flavored with the upper and lowerneighbor tones to the A.

10.67 Harmonic Specificity: Outline no. 2 with LT followed by outline no. 1

& b c œ# œ œ œ œ œ ‰ JœGm7

Œ ‰ Jœ# œ œn œ œC7 jœ

F

10.68 Harmonic Generalization:

&

&

b

b

c

c

‰ Jœ# œ œ œ œ# œ œ œ œGm7

œ œ œ

œ œ# œ œ œ œ œ# œC7

œ œ œ œ

œ œ# œ œ œ ŒF

œ œ œ

OUTLINE APPLICATIONS

APPLICATIONS to STANDARD PROGRESSIONS

Learning the outlines is an important part of the process of physically, mentally and aurally internaliz-ing harmonic progressions. The outlines offer a linear way of dealing directly with the harmonic motionof the progression. Learning and applying them in the practice room over a progression gives an im-proviser a fighting chance to create intelligent lines in a musical setting in real time. Playing unembel-lished outlines over the progression helps train the ear to hear the linear connections between chords.

Begin by writing down each outline separately through an entire progression. An improvisation may notfollow one single outline for the entire form of a piece, but it is best to limit practice to one concept at atime. Make sure that all accidentals agree with the key signature and agree with any secondary chordsthat may occur.

The first phrase of progression no. 1 is shown below using outline no. 1. All the notes are from the keysignature with the G# is suggested by the secondary dominant E7, the V7 of vi. Practice singing and play-ing this phrase.

10.69 Outline no. 1 applied to progression no. 1.

& c œ œ œ œAm7

œ œ œ œDm7

œ œ œ œG7

œ œ œ œCmaj7

œ œ œ œFmaj7

œ œ œ œBø7

œ# œ œ œE7

œ Œ ÓAm



One popular tune used progression no. 1 and also used outline no. 1 in the melody to connect everyother measure. There have been others who have used the same progression with outline no. 1 includ-ing. Mozart who used outline no. 1 to connect each chord in contrapuntal imitation below.

10.70 Mozart: Piano Sonata, K.545, Allegro

&

?

c

c

≈ œ œ œ œ œ œ œ œ Œ

œ Œ ≈œœœœ œœ œ&


œ Œ ≈ œ œ œ œ œ œ œ


œŒ ≈ œ

œ œ œ œ œ œ?

≈œ œ œ œ# œœœœ Œ

œ# Œ ≈œ œ œœ œn œœ ˙

After playing and memorizing outline no. 1 through the entire progression, attempt to add some rhyth-mic, diatonic and chromatic elaboration to the basic line. The line below includes a chromatic encir-cling of the third of each chord.

10.71 Possible embellishment using outline no. 1

& c Ó ‰ Jœ œ œb œ ‰ Jœ œ œ œ œbAm7

jœ .œ œ œ œ œ#Dm7

œ œn œ œ œ œ#G7

˙ ÓCmaj7

Having practiced outline no. 1, apply outline no. 2 to the entire progression.

10.72 Outline no. 2 connecting all odd measures to even over progression no. 1

& c œ œ œ œAm7

˙ ÓDm7

œ œ œ œG7

˙ ÓCmaj7

œ œ œ œFmaj7

˙ ÓBø7

œ œ# œ œE7

˙ ÓAm

10.73 Outline no. 2 connecting all even measures to odd over progression no. 1

& c ˙ ÓAm7

œ œ œ œDm7

˙ ÓG7

œ œ œ œCmaj7

˙ ÓFmaj7

œ œ œ œBø7

œ# œ œ œE7

˙ ÓAm

Apply embellishment devices to the basic outlines throughout the progression. Sequences are an excel-lent tool for developing single musical ideas. Outline no. 2 is in ex. 10.74 is embellished using diatonicscale notes and chromatically approaching the third of Dm7 and Cmaj7.

10.74 Possible embellishment using outline no. 2

& c œ œ œ œ œ œ œb œAm7

˙ ÓDm7

œ œn œ œ œ œ œ œ#G7

˙ ÓCmaj7



Apply outline no. 3 to the entire progression. A 3-5-7-9 arpeggio often follows outline no. 3, so use this asan opportunity to practice them.

10.75 Outline no. 3 in all odd measures/3-5-7-9 arpeggio in all even measures overprogression no. 1

& c œ œ œ œAm7

œ œ œ œDm7

œ œ œ œG7

œ œ œ œCmaj7

œ œ œ œFmaj7

œ œ œ œBø7

œ œ# œ œE7

˙ ÓAm

10.76 3-5-7-9 arpeggio in all even measures/Outline no. 3 in all odd measures overprogression no. 1

& c œ œ œ œAm7

œ œ œ œDm7

œ œ œ œG7

œ œ œ œ

Cmaj7

œ œ œ œFmaj7

œ œ œ œ

Bø7

œ# œ œ œE7

˙ ÓAm

10.77 Possible diatonic embellishment of outline no. 3

& c œ œ œ œ œ œ œ œAm7

œ œ œ œ ‰ Jœ ‰ JœDm7

œ ‰ Jœ œ œ ‰ jœG7

œ œ œ œ œ ŒCmaj7

Progression no. 23 is similar to progression no. 1, but modulates from the key of Ab (I) to the key of C(III) at the end of the first phrase. The outlines are still very useful tools. The G7 suggests the progressionis moving to C minor, as the iii chord in Ab. To modulate to C minor (3bs) two notes are necessary: Dnfrom the key signature; and Bn, the leading tone. After suggesting the key of C minor, resolving to the Enwill clarify the surprise resolution to the major key.

10.78 Outline no. 1 for the first phrase of progression no. 23

& bb b b c œ œ œ œFm7

œ œ œ œBbm7

œ œ œ œEb7

œ œ œ œAbmaj7

œ œ œ œDbmaj7

œn œ œ œG7

wnC

10.79 Outlines over progression no. 23Outline no. 2 applied to last cadence Outline no. 3 applied to last cadence

& bb b b c œ œ œ œDbmaj7

œn œ œ œG7

wnC

& bb b b c œ œ œ œDbmaj7

œn œn œ œbG7

˙ ˙nC



Outlines useful for tunes that modulate to unorthodox key relationships like progression no. 24.

10.80 Outline no. 1 applied to progression no. 24

& c .œ# Jœ œ# œ œn œB D7

.œ Jœ œ œ œb œbG Bb7

.˙ ‰ JœEb

œ œ œ œ œ# œ œ œAm7 D7

& .œ Jœ œ œ œb œbG Bb7

.œ jœb œ# œ# œ# œEb F#7

.˙# ‰ JœbB

œb œ œ œb œ œ œb œFm7 Bb7

& .˙ ‰ JœEb


.˙ ‰ jœ#G

œ œ# œ# œ œ# œ# œ# œC#m7 F#7

& ...˙# ‰ JœbB

œb œ œ œb œ œ œb œFm7 Bb7

.˙ ‰ JœbEb œn œ# œ# œ œ# œ# œ# œC#m7 F#7

10.81 Outline no. 2 applied to beginning of progression no. 24

& c œ œ# œ# œn œ œ œB D7

œ œ œ œb œ œ œbG Bb7

.˙ ‰ JœbEb


œG

10.82 Outline no. 2 applied to the ii7 - V7 I progressions in the three keys from progressionno. 24

& c œ œb œ œb œ œ œb œFm7 Bb7

.˙ ŒEb


.˙ ŒG

œ# œ œ# œ œ# œ œ# œC#m7 F#7

.˙# ŒB

10.83 Outline no. 3 applied to beginning of progression no. 24

& c œ# œ# œ# œ œ œn œB D7

œ œ œ œ œ œb œbG Bb7

.˙ ‰ JœEb œ œ œ œ œ# œ œ œ

Am7 D7 œG

10.84 Outline no. 3 applied to the ii7 - V7 I progressions in the three keys from progressionno. 24

& c œ œb œ œb œ œ œ œFm7 Bb7

.˙ ŒEb


.˙ ŒG œ# œ œ# œ œ# œ œ œC#m7 F#7 .˙# Œ

B



Students often ask if real jazz musicians practice these things. These common lines were not labeledoutlines until my book, Connecting Chords with Linear Harmony, but they occurred in improvisationsand compositions by Bach and Mozart centuries ago, Charlie Parker and Clifford Brown from decadesago, and contemporary musicians such as Mike Stern and John Scofield. Usually, what gets practiced sur-faces in performances, so it reasons that what shows up in performances was probably practiced.Outlines are one of the many tools practiced by jazz artists.

Listen to the first line improvised by Coltrane on progression no. 24. Coltrane played a simple state-ment of outline no. 2.

10.85 Outline no. 2 simple

& c œ# œ œ# œ .œ# jœC#m7 F#7

œ#B

Tom Harrell used the same outline no. 2 in his solo over the same progression. Harrell adds passingtones (D# and F#) but the effect is the same.

10.86 Outline no. 2 with passing tones

& c œ# œ# œ œ# œ# œ œ# œC#m7 F#7

œ#B

Coltrane probably practiced outline no. 3 in all keys.


& c œ œ œ œ œ# œb œ œAm7 D7

˙ ÓG



OUTLINE EMBELLISHMENT & DEVELOPMENT IDEAS

This is a list of melodic embellishment devices that have been applied to the previous outline examples.Review the list and examples and be able to recognize them in their aural and written forms. Try creat-ing many other melodic lines with outlines using the devices listed below.

• Rhythmic displacement• Passing tones• Neighbor tones

— Upper diatonic— Lower chromatic leading tone or lower neighbor tone— Combinations that encircle or surround primary pitches— Chromatic approaches involving combinations of diatonic and chromatic tones

above and or below target pitch• C.E.S.H. Patterns• Octave displacement• Arpeggios from the third (3-5-7-9) ascending or inverted• Anticipation• Delayed resolution• Arpeggiated tones

— Pivot tone or pedal tone resulting in sawtooth shape• Iteration or repeated notes• Borrowed tones from the minor key over dominant chords. Includes b13, b9 and #9 over

dominant chords.• Sequencing

Once a new progression has been practiced with simple, unadorned outlines, begin to apply some musi-cal, developmental ideas to the outlines. Begin simply by using some rhythmic displacement ideas withsome diatonic embellishments. Progress to the use of many chromatic tones including leading tones,chromatic passing, approach tones, and upper and lower neighbor tones. Be careful not to blur the clar-ity of the outlines with random, unresolved chromaticism.

10.88 Outline No. 1 over a ii7 - V7 - I progression

& bb c œ œ œ œCm7

œ œ œ œF7

wBbmaj7

œ œ œ œCm7

œ œ œ œF7

wBbmaj7

10.89 Outline No. 1 with simple rhythmic displacement

& bb c œ œ> œ. œ œ œ œ>Cm7

œ ‰ jœ œ.

œ œ>F7

.œ jœ. Ó

Bbmaj7

∑

10.90 Outline No. 1 with thirds surrounded by neighbor tones

& bb c ‰ Jœ> œ œ> œ œ œ œCm7

œ œ>

œ# œ œb> œ œF7

˙ œ œ œ# œ.Bbmaj7

∑



10.91 Outline No. 1 with more chromaticism. The Eb, C, A, and F are surrounded with neighbortones.

& bb c œ> œ œ> œ œ œ œn œ>Cm7

œ œb œ œ# œ>

œb œ œF7

œn œ>

œ œb œ>

œ œ œ>Bbmaj7

˙ Ó



œ œ œ œF7

wBbmaj7

œ œ œ œCm7

œ œ œ œF7

wBbmaj7

10.93 Outline No. 2 with simple rhythmic displacement

& bb c œ. ‰ jœ œ œ

^‰ jœ

>Cm7

.œ jœ>

œ œ ‰ jœ>F7

.œ jœ. Ó

Bbmaj7

∑

10.94 Outline No. 2 with simple diatonic embellishment

& bb c œ œ œ œ œ œ ‰ jœCm7

œ œ œ œ œ œ œ œF7

˙ œ œ œ œBbmaj7

˙ Ó

10.95 Outline No. 2 with chromatic leading tones, borrowed tones and chromatic approaches

& bb c ‰ jœn œ œ œ œ>

œ œ#Cm7

œ>

œ œ œb>

œ œn œ>

œ

F7

œ œ>

œ œ# ˙>Bbmaj7

∑



œ œ œ œF7

wBbmaj7 œ œ œ œ

Cm7

œ œ œ œF7

wBbmaj7

10.97 Outline No. 3 with diatonic and rhythmic embellishment

& bb c ‰ Jœ œ œ> œ œ œ œ> œ œ œ œ>Cm7

œ œ œ œ> œ œ œ œ>F7

.œ Jœ. Ó

Bbmaj7

∑



10.98 Outline No. 3 with chromatic leading tones, borrowed tones and rhythmic embellish-ment

& bb c ‰ Jœ œ œ# .œ Jœ> œ œ>Cm7

œ œ œ# œ œ œ œbF7 .œ Jœ. Ó

Bbmaj7

∑

10.99 Outline no. 3 with highly chromatic treatment. Thirds surrounded by neighbor tones

& bb c ‰ Jœ œ œ# œ> œ œ œ> œ œ œn œ>Cm7

œ œ œb>

œ# œ> œ œ œb>F7

œ œ> œ# œ œ.Œ

Bbmaj7

∑

Three neighbor tone combination patterns and their inversions were illustrated in Chapter 4. Thesesame patterns can be applied to the three outlines. The three basic patterns are:

Combination Inverse

UNT–LNT–CT LNT–UNT–CTCT–UNT–LNT–CT CT–LNT–UNT–CTUNT–CT–LNT–CT LNT–CT–UNT–CT

10.100 Outline no. 1: UNT-LNT-CT pattern over Gm and F triads, common chromatic approachto E, 3rd of C7

& b c œ œ œ œ œ# œ œn œ œ#Gm7

.œ jœ œ œ œn œC7

œ œ œ# œ œ œn œF

∑

10.101 Outline no. 1: CT-LNT-UNT-CT pattern

& b œ œ œ œ œ œ œ# œGm7

œ œn œ œ# œ œ œ œC7

˙ œ œ# œ œF

∑

10.102 Outline no. 2: UNT-CT-LNT-CT pattern

& b œ œ œ# œ œ œ œ œGm7 œ œ œ œ# œ œn œ œ

C7

˙ œ œ œ# œF

∑

10.103 Outline no. 2: CT-UNT-LNT-CT pattern

& b œ œ œ# œ œ œ œ œGm7 œ œ œ œ# œ œ œ œbC7

.˙ œ œ#F

œ Œ Ó



10.104 Outline no. 2: UNT-LNT-CT pattern

& b Œ œ œ# œ œ œ œGm7 œ œ œ œ# œ œ œb œn

C7

œ œ œ œ# œ œ œn œF

œ Œ Ó

10.105 Outline no. 3: LNT-UNT-CT pattern

& b œ œ œ œ œ# œGm7

œ œn œ œ# œ œb œ œC7

œ œ œ# œ œ œn œF

∑

10.106 Outline no. 3: LT & LNT-UNT-CT pattern

& b œ# œ œ œn œ œ# œ œGm7

œ œn œ œ# œ œ œ œbC7

œn œ œ# œb œ œ œn œF

∑

After practicing specific embellishment techniques, apply them to standard progressions. Apply themover specific points in the piece. Entire “improvisations” can be written out and practiced as etudes.Practicing constructing an improvisation will help prepare for spontaneous construction on the bandstand.



OUTLINE ETUDE

Here is a sample etude using outlines. Each outline is labeled. Since the form is AABA and has three oc-currences of the A section, a different combination of the outlines was used each time. Gø7 is connectedto C7 using outline no. 1 in the first A section, no. 2 in the second, and no. 3 in the last. The basic out-lines are elaborated using several of the approaches previously discussed in this chapter. Examine eachoutline and try to identify the development devices that were used. The exact line connecting m.1 to m.2occurs again transposed to the key of C minor in mm.13-14. Use this approach to create exercises thatwill develop improvisation and melodic development skills.

10.107 Outline Etude based on progression no. 19

&1

‰ Jœb œ œ œ œb œ œGø7

œ œ œb œb œ œ œ œC7

˙b ‰ jœn œ œFm

∑

&5

‰ jœn œ œ œb œ œ œDø7

œ œb œb œ œ œ œ œ#G7

œ œ Œ Œ ‰ JœC œ œ œ Ó

&9

‰ jœ# œ œb œb œ œ# œGø7 œ œ œb œb œ œ œ œC7

œb œb œ œ œ œ œFm

∑

&13

‰ jœ œn œ œ œb œ œDø7

œn œ œ œb œ œ œ œ#G7

.œ jœ ÓC

∑

no. 1

no. 1

no. 1

no. 3no. 1

no. 2

no. 1

no. 1

&17

œ œ œ œ œ œb œ œCm7

œ œb œ œ# œ œb œb œnF7 œ œb œ œ# œ œb œBb

˙ Œ œ œ#

&21

œ œb œb ˙Ab7

˙ œ œb œ œ .˙n œb œG7

.˙ Œ

&25

Œ œb œ œb œ œ œGø7

œ ‰ jœ œb œb œ œC7

œb œ œ œ œn œ œ œFm

∑

&29

œ œn œ œb œ œb œ œDø7

œ œ œ œb œ œ œG7 œ# œ œ œn œ œ œ œC ˙ Óno. 1

no. 1

no. 3

no. 1

no. 2no. 1

no. 1



EAR TRAINING

The outlines are excellent tools for ear training. The outlines address all of the important guide tones,identify the harmonic motion, and resolve the dissonant to the consonant notes. All accidentalsnecessary for modulating from a key to its closely related keys are addressed by the outlines. Sing theoutlines for ear training practice over all modulations to closely related keys.

The following chart reviews the closely related keys to the key of C major, their secondary supertonicand dominant chords, and lists the necessary accidentals needed for modulation.

NEW KEY AREA TO TONICIZE SECONDARY SUPERTONIC &DOMINANT

NECESSARY ACCIDENTALS

ii: D minor Eø7 - A7 Bb and C#iii: E minor F#ø7 - B7 F# and D#IV: F major Gm7 - C7 BbV: G major Am7 - D7 F#vi: A minor Bø7 - E7 G#

Practice singing these modulations from the tonic key of C to closely related keys and then returning tothe key of C using outline no. 1. Learn to hear them without your instrument. Daily practice is requiredto master any skill like this. Utilize driving time or walking time as ear training time. A pitch pipe canconfirm if the modulations have brought the lines back to the tonic key. Certain modulations will beeasier than others. Practice the ones that are more difficult more often and they will not be as difficult.

OUTLINE No. 1

Modulate from C major (I) to the key of D minor (ii)

& c ˙ œ œ œC

œ œ œ œ œ# œb œ œEø7 A7

œ œ ˙Dm

œ œ œ œn œn œ œ œDm7 G7

œ œ ˙C

Modulate from C major (I) to the key of E minor (iii)

& c ˙ œ œ œC

œ œ œ# œ œ# œ œ œF#ø7 B7

œ œ# ˙Em

œn œ œn œ œ œ œ œDm7 G7

œ œ ˙C

Modulate from C major (I) to the key of F major (IV)

& c ˙ œ œ œC

œb œ œ œ œ œ œ œGm7 C7

œ œ ˙F

œ œ œ œ œn œ œ œDm7 G7

œ œ ˙C

Modulate from C major (I) to the key of G major (V)

& c ˙ œ œ œ œC


œ œ ˙G

œn œ œ œ œ œ œ œDm7 G7

œ œ ˙C



Modulate from C major (I) to the key of A minor (vi)

& c ˙ œ ‰ jœC

œ œ œ œ œ# œ œ œBø7 E7

œ œ ˙Am

œ œ œ œ œ œ œn œDm7 G7

œ œ ˙C

Practice singing these modulations from the tonic key of C to closely related keys and then returning tothe key of C using outline no. 2.

OUTLINE No. 2


& c ˙ œ œ œC

œ œ œb œ œ# œ œ œEø7 A7

œ œ œ œ œDm


œ œ ˙C


& c ˙ œ œ œC

œ# œ œ œ œ# œ œ œF#ø7 B7

œ œ# ˙Em

œn œn œ œ œ œ œ œDm7 G7

œ œ ˙C


& c ˙ œ œ œC

œ œb œ œ œ œ œ œGm7 C7

œ œ ˙F


œ œ ˙C


& c ˙ œ œ œ

C


œ œ ˙G

œ œn œ œ œ œ œ œDm7 G7

œ œ ˙C


& c ˙ œ œ œC


œ œ ˙Am

œ œ œ œ œ œ œn œDm7 G7

œ œ ˙C



Practice singing these modulations from the tonic key of C to closely related keys and then returning tothe key of C using outline no. 3.

OUTLINE No. 3


& c ˙ Œ œ œC

œb œ œ œ œ# œ œ œEø7 A7

œ œ ˙Dm


œ œ ˙C


& c ˙ ‰ jœ œ œC

œ œ œ# œ œ# œ œ œF#ø7 B7

œ œ ˙Em

œ œn œn œ œ œ œ œDm7 G7

œ œ ˙C


& c ˙ œ ‰ JœC

œ œb œ œ œ œ œ œGm7 C7

œ œ ˙F


œ œ ˙C


& c ˙ œ œ œC


œ œ ˙G

œ œn œ œ œ œ œ œDm7 G7

œ œ ˙C


& c ˙ œ œ œC


œ œ ˙

Am

œ œ œ œ œ œ œ œDm7 G7

œ œ ˙C




• Practice singing and playing all three outlines over ii7 - V7 - I in all major keys• Practice singing and playing all three outlines over iiø7 - V7 - i in all minor keys• Write out the outlines for progression on which to improvise• Locate and identify other outline examples in improvisations. Identify the tech-

niques used to embellish the basic outlines.• Create new lines over typical ii - V7 - I and iiø7 - V7 - i progressions using the out-

lines.• Apply newly created lines over specific points in standard progressions.• Write out solo etudes over standard progressions using outline embellishment ideas.• Practice standard progressions using agendas suggesting the use of specific outlines

for different phrases. Example for any 32 measure form.

mm.1-4 outline no. 1mm.5-8 outline no. 3mm.9-12 outline no. 2mm.13-16 outline no. 3mm.17-20 outline no. 2mm.21-24 outline no. 1mm.25-28 outline no. 3mm.29-32 outline no. 1

• Add other musical approaches to agendas including blues material and other tri-adic generalization ideas, melodic paraphrasing, etc.

264 Chapter 11 Harmony: Overview of Voicings


XI. HARMONY: OVERVIEW of VOICINGS

Two or more melodic voices can suggest all of the harmonic framework over standard harmonic pro-gressions by their juxtaposition and adherence to fundamental voice leading principles. When four orfive melodic voices occur at once, harmony is created. It is useful to think of the harmonic voicings asvertical alignments of notes sounding simultaneously, but important to realize that each voice is a resultof a linear melodic activity. All voice leading principles from Chapter 9 apply to the interaction be-tween adjacent chords. The basics of four and five part harmony will be discussed and illustrated fol-lowed by a piano overview, and a brief look at arranging voicings for big band, vocal and string groups.

Review the fundamental voice leading principles when chords have downward fifth root progressions.Thirds resolve to sevenths, sevenths resolve to thirds, fifths resolve to ninths and ninths resolve to fifths.The ninths and fifths may be modified on dominant chords. A n9, b9 or #9 (usually shown as the enhar-monic equivalent b10) may be used. Any ninths would still resolve to the fifth of the subsequent chord.The b9 and #9 pitches are associated with minor keys though they are freely used in major keys to createmore tension. The fifth of a dominant chord may be replaced by a n13 or a b13, the #11 or b5. Any ofthese pitches that substitute for a fifth behave as a fifth and resolve to the ninth of the subsequent chord.The n13 is associated with a V7 in major and the b13 is associated with a V7 in minor because the n13 orb13 of a dominant chord is the third of the tonic chord and therefore the pitch which identifies majoror minor.

FOUR PART VOICE LEADING

Three voices added to a root line creates four voice harmony. Voicings are shown below in ex. 11.1a-dfor the most common progressions: ii7 - V7 - I in major and iiø7/vi - V7/vi - vi to the relative minor.The voicing in ex. 11.1a was created by placing the next available chord tones below the A. The voicebelow A, the fifth is the third, F. The E, the ninth, or the root could have been used, but the Dm7 wouldhave been without the essential seventh, so the third pitch must be C. Following basic voice leadingprinciples, the C moves down to the B while the A and F remain. The upper part of the D chord is con-structed from the top: 5-3-7. This chord resolves to a G chord constructed from the top: 9-7-3. Both ofthese chord types has one of the two essential tones on the bottom, either the third or the seventh. Thechord type with the seventh on the bottom will be labeled a type I chord, with a third on the bottom atype II chord. Type I chords resolve to type II chords. Since the G9 chord is a type II, it resolves to aCmaj7 type I chord. The line suggested by the third voice of these two chord types is often called the“thumb-line,” as it would be the line played by the thumb when playing these chords on piano. Ex. 11.1billustrates the progression to the relative minor. If a type II leads to a type I, then the same progressionscan be inverted to begin with a type II resolving to a type I and back to a type II as illustrated in ex.11.1c-d.

The limitations of four voices necessitates omission of one voice. The essential tones that identify thechords are the third and seventh. Either a fifth or a ninth must be omitted. The fifth is often redundantas it is heard as a result of the physics of the overtone series. The ninth may add color, but must con-cede to the third and seventh when the fifth of the chord is called for by voice leading.

Chapter 11 Harmony: Overview of Voicings 265


11.1 a b. c. d.I - II - I I - II - I II - I - I I II - I - I IMajor Minor Major Minor

&

?

c

c

œœœ œœœ ˙Dm7 G9 Cmaj7

œ œ ˙

œœœ œœœ# ˙n

Bø7 E7b9 Am7

œ œ ˙

&

?

c

c

œœœ œœœ ˙Dm7 G9 Cmaj7

œ œ ˙

œœœ œœœ# ˙nBø7 E7

b9 Am7

œ œ ˙

VOICE LEADING with FOUR VOICESI – I I – I I I – I – I I

5 – 9 – 5 9 – 5 – 93 – 7 – 3 7 – 3 – 77 – 3 – 7 3 – 7 – 3

FIVE PART VOICE LEADING

The chords from ex. 11.1 can be transformed to five voice harmony with the addition of the previouslyomitted tones. The ninth (E) can be added to the Dm7 chord from ex. 11.1a. The ninth (E) wouldresolve to the fifth of G9 (D) and finally to the ninth of Cmaj9 (D) as shown in ex. 11.2a.

In ex. 11.2b, the ninth of Bø7 is not used. The ninth, in this case over the ø7, blurs the distinction of thechord quality. Instead of the ninth, the third or the root may be doubled. In ex. 11.2d, the ninth is usedover the Bø7 chord. The ninth is still quite dissonant, but voicing it in a higher register lessens the nega-tive effect.

The addition of tones does not change the chord types since the new tones do not effect the lowervoice. The additional tones are illustrated in the inverted progression in ex. 11.2c-d.

11.2 a b. c. d.I - II - I I - II - I II - I - I I II - I - I IMajor Minor Major Minor

&

?

c

c

œœœœ œœœœ ˙˙˙Dm7 G9 Cmaj7

œ œ ˙

œœœœ œœœœ# ˙˙˙n

Bø7 E7b9 Am7

œ œ ˙

&

?

c

c

œœœœ œœœœ ˙Dm7 G9 Cmaj7

œ œ ˙

œœœœ œœœœ# ˙nBø7 E7

b9 Am7

œ œ ˙



VOICE LEADING with FIVE VOICESI – I I – I I I – I – I I

5 – 9 – 5 9 – 5 – 93 – 7 – 3 7 – 3 – 79 – 5 – 9 5 – 9 – 57 – 3 – 7 3 – 7 – 3

CLOSE VOICING

The upper voices of the previous examples were examples of close voicing. Close voicings have all theupper voices within the range of an octave.

OPEN VOICINGS

When the upper voices are not within the range of an octave they are called open voicings. The openvoicings help the listener hear the individual inner voices. A common method to change a close voic-ing into an open voicing is to drop the second voice from the top down an octave. This open voicing iscommonly called a “drop 2” voicing. The “2” only refers to the second voice from the top and not to apart of the chord. Ex. 11.3 illustrates the conversion of close voicings to open voicings by dropping thesecond voice from the top.

The chord type changes when converting a close chord to an open chord. The second voice from thetop becomes the lowest voice above the root in the bass. The Dm9 close type II (with the third as thelowest voice) chord in Ex. 11.3a becomes a type I (with the seventh as the lowest voice) open chord.

11.3 “Drop 2” Voicings

a. b.

I I I I I I

&

?

c

c

˙ ˙Dm9 Dm9

˙ ˙˙˙˙ ˙

Dm9 Dm9

˙ ˙

Harmonic passages using open position voicings should continue in open positions in order for thevoices to lead properly. The close position voicings of ex. 11.2 are shown in open “drop 2” position inex. 11.4. Play through the examples and sing the individual lines to internalize the sound of each voice.The voices do not need to be static. The b13 (C) of the E7 resolves to the fifth (B) before resolving tothe ninth of Am9 (B) in ex. 114d.



11.4 a b. c. d.II - I - I I II - I - I I I - II - I I - II - I

Major Minor Major Minor

&

?

c

cœœœ œœœ ˙

Dm9 G13 Cmaj9

œœ œœ ˙

œœœ œœœ# ˙nBø7 E7

b9b13 Am9

œœ œœ ˙œœœ œœœ ˙

Dm9 G13 Cmaj9

œœ œœ˙

œœ œœ ˙Bø7 E7

b9b13 Am9

œ œ œ ˙

œœ œœ# ˙n

ALTERATIONS & SUBSTITUTIONS for 5th & 9th

Many colorful substitutions are available for dominant chords. The fifth is often omitted. The fifth maybe heard even when absent due to the physics of the overtone series. Using the fifth may be redundant ifit can already be heard. The fifth may be omitted to lighten the sound of a voicing. A perfect fifth canmake a dominant chord seem heavy. This is a phenomenon is known to all rock musicians who call thetwo note chord made of the root and fifth chord the “powerchord.” The third and seventh, the tritone,must be present in order for the chord to sound like a dominant leaving the fifths and ninths availablefor alterations or substitutions.

Other notes that may substitute for the fifth in a dominant chord include the b5, or its enharmonicequivalent the #11, the b13 or its enharmonic equivalent the #5, and the n13. A ninth can occur as a n9(major ninth above the root), a b9 (minor ninth above the root), and a #9. The #9 is often spelled en-harmonically as a b3 or b10. A G7#9 will probably be spelled with a Bb rather than an A#. (It is rare, but achord may be encountered that is labeled G7b10, meaning what would commonly be called a G7#9).Alterations may be encountered that are arbitrary or due to linear concerns.

Substitutions or alterations to the ninth or fifth do not change basic voice leading tendencies. Any fifth,its substitute or alteration wants to resolve to any ninth, its substitute or alteration which in turn will re-solve back to any fifth, its substitute or alteration.

9 (n9, b9, #9) – 5

7 – 3

5 (b5/#11, n5, b13/#5, b13) – 9

3 – 7

The primary dominants are those derived from the major scale and the minor scale (harmonic). A G7derived from C major yields a n5, n13, and a n9. Add three flats to yield the C minor key signature andthe G7 would yield the n5, b13, b9 and #9. Knowing this helps determine the appropriate sound. A G9, orG13 suggests a resolution to C major; a G7b9 or G7b9/b13 suggests a resolution to C minor, but does notrule out a resolution to major. (See ex 6.1, p.111). Some of the other alterations may suggest scales dis-cussed in chapter 14.

There are four pitches that may stand in for the fifth and three different possible ninths, which yieldstwelve possible different dominants (4 × 3). Each of these dominants below is shown in “drop 2” openposition; each has a combination of one of the four possible notes for the fifth and one of the threeninths.



11.5 Twelve possible dominant chords

&

?

c

cwww w

wwwG9

ww w

wwwb wwwwb

G7b9

ww w

wwwb wwwwb

G7#9

ww w

&

?www w

wwwG139

ww w

wwwb wwwwb

G13b9

ww w

wwwbn wwwwnb

G13#9

ww w

&

?wwwnb w

wwwbnG9b13

ww w

wwwbb wwwwbb

G7

b9b13

ww w

wwwbb wwwwbb

G7

#9b13

ww w

&

?www# w

www#G9#11

ww w

wwwbb wwwwbb

G7

b9b5

ww w

wwwbb wwwwbb

G7

#9b5

ww w



Any of the above dominants will work between the Dm9 and the Cmaj7 and several will work between aDø7 and a Cm9. Sing the individual lines to hear the resolutions of the colorful ninths and fifths.

11.6 Colorful Dominants added to Common Cadence

&

?www wwwbb www

Dm9 G7

#9b13 Cmaj7

ww ww wwwwwbb wwwbb wwwb

Dø7 G7

#9b13 Cm9

ww wwn wwbwww wwwbb wwwn

Dm9 G7

#9b13 Cmaj7

ww ww wwVoice leading principles remain uniform when using secondary dominants and whether the voicings arein open or close positions.

11.7 Different secondary dominants replace ii7.Voice leading remains constant with these close position chords.

n5 — n9 — n5 n13 — n9 — n5 b13 — b9 — n5n9 — n5 — n9 n9 — n13 — n9 b9 — b13 — n9

&

?

c

c

œœœœ# œœœœn ˙˙˙D9 G9 Cmaj9

œ œ ˙

œœœœ# œœœœn ˙˙˙D13 G13 Cmaj9

œ œ ˙

œœœœbb# œœœœbnnb ˙˙˙nD7b13

b9G7b13

b9Cmaj9

œ œ ˙

11.8 Different secondary dominants replace ii7.Voice leading remains constant with these open position chords

n5 — n9 — n5 n13 — n9 — n5 b13 — b9 — n5n9 — n5 — n9 n9 — n13 — n9 b9 — b13 — n9

&

?

c

c

œœœ œœœ ˙D9 G9 Cmaj9

œœ# œœn ˙

œœœ œœœ ˙D13 G13 Cmaj9

œœ# œœn ˙

œœœbb œœœbnb ˙D7b13

b9G7b13

b9Cmaj9

œœ# œœn ˙



EXERCISES

Writing, singing and playing the following exercises will aid the understanding and retention of thevoice leading principles. The first voicing is given. If the voice leading principles are obeyed, the chordswill alternate from type I to type II and each voice should move smoothly by step to the next.

In these exercises, choose appropriate ninths and fifths or fifth substitutes based on the key signaturesand whether the dominants point to major or minor. Learn the basics first and later you may wish toseason the dominants creatively.

11.9 ii7 - V7 - I in Bb major

&

?

bb

b b

c

c

œœœœ

œ œ ˙Cm9

œœœœœ œ ˙

œœœœœ œ ˙

œœœœœ œ ˙

Specific dominant colors are requested in this exercise.

11.10 iiø7/vi - V7/vi - vi in Eb major or iiø7 - V7 - i in C minor.

&

?

bb b

b b b

c

c

œœœœ

œ œ ˙Dø7 G7b13

b9Cm9

œœœœœ œ ˙

œœœœœ œ ˙

œœœœœ œ ˙

Ab substitutes for D7 and moves parallel to the G7. Since they are parallel chords, thirds resolve tothirds, fifths and their substitutes to fifths, sevenths to sevenths, and ninths to ninths. The Ab7 chord hasa n9 and used the n13 as a substitute for the fifth. Be careful with accidentals when the G7 chord resolvesto a Cmaj7 and not Cm9.



11.11

&

?

c

c

œœœœbb

œb œ ˙Ab13 G7b13

b9Cmaj9

œœœb

œœbb œ ˙

œœœœbbœb œ ˙

œœœbbœœb œ ˙

11.12 Close position key center cycle in Eb major

&

?

bb b

b b b

c

c

˙

˙ ˙Fm9 Bb13

˙ ˙Ebmaj9 Abmaj9

˙ ˙Dø7 G7b13

b9wCm9

11.13 Open position key center cycle in Eb major

&

?

bb b

b b b

c

c

˙

˙ ˙Fm9 Bb13

˙ ˙Ebmaj9 Abmaj9

˙ ˙Dø7 G7b13

b9

wCm9

11.14 Close position key center cycle in Eb major

&

?

bb b

b b b

c

c

˙˙˙

˙ ˙Fm9 Bb13 ˙ ˙Ebmaj9 Abmaj9

˙ ˙Dø7 G7b13

b9wCm9



11.15 Open position key center cycle in Eb major

&

?

bb b

b b b

c

c

˙

˙ ˙Fm9 Bb13 ˙ ˙

Ebmaj9 Abmaj9

˙ ˙Dø7 G7b13

b9wCm9

The next three exercises use secondary keys. Follow the RNA and be careful with accidentals suggestedby the key signature of the secondary keys.

11.16 Four voice exercise with secondary keys

&

?

b

b

c

c

wwwwI ˙ ˙

iiø7/vi V7/vi ˙ ˙vi7 V7/v

˙ ˙ii7/IV V7/IV

wwwwIV

11.17 Five voice exercise with secondary keys

&

?

c

c

wwww

wI

˙ ˙iiø7/vi V7/vi

˙ ˙vi7 V7/v

˙ ˙ii7/IV V7/IV

wIV

11.18 Five voice exercise with secondary keys

&

?

#

#

c

c

wwwwI ˙ ˙

iiø7/vi V7/vi ˙ ˙vi7 V7/v ˙ ˙

ii7/IV V7/IV

wIV



EXERCISES 11.9-11.18 SOLVED

11.9 Solved

&

?

bb

b b

c

c

œœœœ œœœœ ˙

œ œ ˙Cm9 F9 Bbmaj9

œœœ œœœ ˙

œœ œœ ˙œœœœ œœœœ ˙˙˙œ œ ˙

œœœ œœœ ˙

œœ œœ ˙

11.10 Solved

&

?

bb b

b b b

c

c

œœœœ œœœœn ˙b

œ œ ˙Dø7 G7b13

b9Cm9

œœœ œœœ ˙

œœ œœn ˙bœœœœ œœœœn ˙˙˙bœ œ ˙

œœœ œœœn ˙bœœ œœ ˙

11.11 Solved

&

?

c

c

œœœœbb œœœœbnb ˙˙˙nnAb13 G7b13

b9Cmaj9

œb œ ˙

œœœb œœœbnb ˙œœbb œœ ˙

œœœœbb œœœœbbn ˙nœb œ ˙

œœœbb œœœbb ˙nœœb œœ ˙

11.12 Solved

&

?

bb b

b b b

c

c

˙ ˙˙˙

˙ ˙Fm9 Bb13

˙ ˙˙˙

˙ ˙Ebmaj9 Abmaj9

˙ ˙˙˙n

˙ ˙Dø7 G7b13

b9wwww

wCm9



11.13 Solved

&

?

bb b

b b b

c

c

˙ ˙Fm9 Bb13

˙ ˙

˙ ˙Ebmaj9 Abmaj9

˙ ˙

˙ ˙Dø7 G7b13

b9

˙ ˙n

wwwCm9

wwb

11.14 Solved

&

?

bb b

b b b

c

c

˙˙˙ ˙˙˙Fm9 Bb13

˙ ˙˙˙˙ ˙Ebmaj9 Abmaj9

˙ ˙˙˙˙ ˙˙˙nDø7 G7b13

b9

˙ ˙wwwwbCm9

w

11.15 Solved

&

?

bb b

b b b

c

c

˙ ˙

˙ ˙Fm9 Bb13

˙ ˙

˙ ˙Ebmaj9 Abmaj9

˙ ˙n˙ ˙Dø7 G7b13

b9wwwbwwCm9

11.16 Solved

&

?

b

b

c

c

wwwwI

˙ ˙#˙ ˙iiø7/vi V7/vi

˙n ˙bn˙ ˙vi7 V7/v

˙nbb ˙

˙ ˙ii7/IVV7/IV

wwwwIV



11.17 Solved

&

?

c

c

wwww

wI

˙ ˙˙˙#

˙ ˙iiø7/vi V7/vi

˙ ˙˙˙bb#

˙ ˙vi7 V7/v

˙nb ˙˙˙

˙ ˙ii7/IV V7/IV

wwww

wIV

11.18 Solved

&

?

#

#

c

c

wwwwwI

˙ ˙#˙ ˙iiø7/vi V7/vi

˙ ˙b#n˙ ˙vi7 V7/v

˙n ˙

˙n ˙ii7/IV V7/IV

wwwwwIV



PIANO OVERVIEW

There are several books on voicings for piano and arranging which take the time to go into great detail.This chapter would not be complete without an overview some of the basic principles for piano and ar-ranging voicings. Use these examples as a point of departure and add to this base information gatheredfrom other books and transcriptions.

Playing key signature cycles in close positions helps visualization of the basic step motion of each line.Every ii7 - V7 - I and iiø7 - V7 - i cadence will be played if this exercise is played in all twelve keys.

Guitarists cannot play these close position chords, but they work well on vibraphone and piano.

11.19 Key center cycle, close position voicings

&

?

c

c

..

..

˙ ˙˙˙Dm9 G9

˙ ˙

˙ ˙˙˙Cmaj9 Fmaj9

˙ ˙

˙ œœœœ# œœœœBø7 E7b13

b9E7b9

˙ ˙

˙n œœœœb# œœœœAm9 A7b13

b9A7b9

˙ ˙

&

?

..

..

˙˙˙n ˙Dm9 G9

˙ ˙

˙˙˙ ˙Cmaj9 Fmaj9

˙ ˙

˙˙˙ œœœœ# œœœœ

Bø7 E7b13

b9

˙ ˙

˙˙˙nœœœœ#b œœœœ

Am9 A7b13

b9A7b9

˙ ˙11.20 Key center cycle, close position voicings

&

?

b

b

c

c

..

..

˙˙˙n ˙Gm9 C9

˙ ˙

˙˙˙ ˙Fmaj9 Bbmaj9

˙ ˙

˙˙˙ œœœœ# œœœœEø7 A7b13

b9

˙ ˙

˙˙˙n œœœœ#b œœœœDm9 D7b13

b9D7b9

˙ ˙

&

?

b

b

..

..

˙ ˙˙˙Gm9 C9

˙ ˙

˙ ˙˙˙Fmaj9 Bbmaj9

˙ ˙

˙ œœœœ# œœœœ

Eø7 A7b13

b9A7b9

˙ ˙

˙nœœœœb# œœœœ

Dm9 D7b13

b9D7b9

˙ ˙



The top four voices of these open position voicings are excellent guitar and vibraphone voicings.

11.21 Key center cycle, open position voicings

&

?

c

c

..

..

˙ ˙Dm9 G9

˙ ˙

˙ ˙Cmaj9 Fmaj9

˙ ˙

˙ œœœ œœœBø7 E7b13

b9E7b9

˙ ˙#

˙ œœœb# œœœAm9 A7b13

b9A7b9

˙n ˙

&

?

..

..

˙n ˙Dm9 G9

˙ ˙

˙ ˙Cmaj9 Fmaj9

˙ ˙

˙˙˙ œœœ# œœœ

Bø7 E7b13

b9

˙ ˙

˙nœœœb œœœ

Am9 A7b13

b9A7b9

˙ ˙#

Spice up the cycle with some altered dominants. A C7 with a #9, b9 and b13 points to F minor, but isinteresting when used to resolve to F major.

11.22 Key center cycle, open position voicings

&

?

b

b

c

c

..

..

˙n œœœbb œœœbGm9 C7b13

#9C7b13

b9

˙ ˙

˙ ˙Fmaj9 Bbmaj9

˙ ˙

˙˙˙ œœœ# œœœEø7 A7b13

b9

˙ ˙

˙n œœœb œœœDm9 D7b13

b9D7b9

˙ ˙#

&

?

b

b

..

..

˙ œœœbb œœœbGm9 C7b13

#9C7b13

b9

˙n ˙

˙ ˙Fmaj9 Bbmaj9

˙ ˙

˙ œœœ œœœ

Eø7 A7b13

b9A7b9

˙ ˙#

˙ œœœb# œœœDm9 D7b13

b9D7b9

˙ ˙

LEFT HAND VOICINGS

There are many different kinds of left hand voicings used by a pianist. If the pianist is playing unaccom-panied, the left hand may play large and small chords that would often include the root. If playing in atrio setting with a bass player, the root is often omitted and only the inner voices may be played. Manyuseful left hand voicings can be derived from the voicings shown earlier in this chapter.

The notes in the bass clef of example 11.4.a are effective left hand chords that include roots. The lefthand plays the root and third which resolves to the root and seventh of the subsequent chord.



11.23 Left hand chords with roots

&

?

c

c

˙ ˙ ˙Dm9 G13 Cmaj9

˙ ˙ ˙

’ ’ ’ ’Dm9 G13

˙ ˙

’ ’ ’ ’Cmaj9

ww

The notes in the bass clef of example 11.4.c are also useful left hand chords that include roots. These arethe opposite of those in ex. 11.23. The left hand plays the root and seventh which resolves to the rootand third of the subsequent chord.

11.24 Left hand chords with roots

&

?

c

c

˙ ˙ ˙Dm9 G13 Cmaj9

˙ ˙ ˙’ ’ ’ ’

Dm9 G13

˙ ˙’ ’ ’ ’

Cmaj9

ww

Pianist tend to leave off the root when playing with a bass player. These rootless voicings assume the lis-tener hears or can imagine the roots of the chords. A basic left hand shell can be derived from ex.11.4a. The dark notes in the first measure below are extracted for the left hand. The bass player is free toplay a bass line and the right hand is available to solo or add more to the voicings. These voicings wereintroduced an octave up and in the right hand in ex. 11.1c. The chord pattern is type II - I - II.

11.25 Left hand chords without roots: II - I - II pattern

&

?

c

c

œœ œœ œœDm9 G13 Cmaj9

œ œ œ

’ ’ ’ ’Dm9 G13

˙ ˙’ ’ ’ ’

Cmaj9

˙

Transposing to other keys will not always mean using the same II - I - II pattern. If the II - I - II patternwere transposed up an octave for the key of F, the top notes might enter the right hand range. If it weretransposed an octave lower, it would be muddy sounding and difficult to distinguish the chord roots.The solution is to keep the voicings centered between Eb in the bass clef and G above the staff. This isnot a hard and fast rule, but a good rule of thumb for thumb-lines. Ex. 11.26 illustrates how changing thechord pattern to a I - II - I keeps the left hand in the ideal range. These three note chords make excellentvoicings on the inner strings of the guitar.



11.26 Left hand chords without roots: I - II - I pattern

&

?

b

b

c

cœœ œœ œœ

Gm9 C13 Fmaj9

œ œ œ

’ ’ ’ ’Gm9 C13

˙ ˙’ ’ ’ ’

Fmaj9

www

The right hand may play a single note over the top of the three note piano shells. The top line may bean independent line or may be a voice not played by the lower voices as shown below. There is very lit-tle motion from one chord to the next. The interesting motion may be in the improvised line abovethese chords. The voice leading is smooth even between the Cmaj7 and the Gm9 chords: the D is re-tained, the E moves a half step up to F, the Bn down a half step to Bb. Ex. 11.27 illustrates the voicingsfrom ex. 11.25-26 in a typical swing setting.

11.27 Right hand added to left hand rootless chords

&

?

c

c

b

b

œ ‰ jœ œ œbDm9 G13

œœœ ‰ Jœœœ ˙

.œ jœ ÓCmaj7

...œœœ Jœœœ Ó

‰ .œ œ œb œGm9 C13

‰ ...œœœ œœœ ‰ Jœœœ

wFmaj7

www

The right hand may play octaves over the left hand shell. The piano can sound like a big band by em-phatically playing these voicings. Extra notes may be added to the three note shell to make them fournotes shells.

11.28 Four note left hand rootless chords

&

?

c

c

b

b

œœ ‰ Jœœ œœ œœbb

Dm9 G13

œœœœ ‰ Jœœœœ œœœœ Œ

..œœ Jœœ Ó

Cmaj7

....œœœœ Jœœœœ Ó

‰ ..œœ œœ œœbb œœGm9 C13

‰ ....œœœœ œœœœ ‰ Jœœœœ

wwFmaj7

wwww



Two or more notes can be added to the three note left hand shell creating a richer foundation. Notesmay also be omitted to create a more stark or sparse accompaniment.

11.29 Thick clusters and sparse left hand rootless chords

&

?

c

c

b

b

œ ‰ Jœb œ œbDm9 G13

œœœœœ ‰ Jœœœœœbbbb ˙˙˙

.œ jœ ÓCmaj7

.....œœœœœ Jœœœœœ Ó

‰ .œ œ œb œGm9 C13

‰ ...œœœ œœœ ‰ Jœœœw

Fmaj7

www

Rich clusters of notes from may be added to both right hand and left hand chords as shown in ex. 11.30.At the heart of the chords below can be found the basic shapes and voice leading principles from ear-lier examples. In mm.3-4, triads are played by the right had over left hand shells. The triads are con-structed of upper structures and color tones. The notes of the F triad are the 7, 9 and 11 of the Gm9. Thenotes of the A major triad are the 13, b9 and 3 of the C7 chord. The notes of the Ab major triad are theb13, root and #9 of the C7 chord. The notes of the C triad are the 5, 7 and 9 of the F major chord. The Bbtriad supplies the b13, root and #9 over the D7

11.30 Clusters and triads in the right hand over left hand chords

&

?

c

c

..

..

..

..

b

b

..

..

..

..

œœœœ Œ œœœœbbb œœœœ ‰jœœœœœnn

Dm9 G7b13

#9

œœœœ Œœœœœb# œœœœ ‰ J

œœœœ

Ó ‰ ....œœœœbCmaj7 A7b13

#9

Ó ‰....œœœœb

œœœœ Œ œœœœ# œœœœbbbn œœœœnGm9 C13

b9 C7b13

#9

œœœœ Œ œœœbœœœb œœœœ

˙ ‰ ....œœœœFmaj7 D7b13

#9

˙˙˙ ‰....œœœœ#



Ex. 11.31 illustrates a blues progression with right hand octaves over basic three note left hand voicings.

11.31 Blues chorus

&

?

b

b

c

c

.

.œœ Jœœ Ó

F13

...œœœb Jœœœ Ó

.

.œœ Jœœ Ó

Bb9

...œœœb Jœœœ Ó

‰Jœœ Œ

˙bbF13 C7b13

#9

‰ Jœœœb Œ

˙bn

.

.œœ Jœœ ‰

.

.œœbbF13 F7b13

b9

...œœœb Jœœœ ‰ ...œœœb

&

?

b

b

œœ Œ..œœbb Jœœ

Bb9 F7b13

b9Bb13

œœœb Œ...œœœbnb Jœœœb

wwwww

‰ Jœœ Œ

..œœ Jœœbb

F9 Eb9 D7b13

b9

‰ Jœœœb Œ

...œœœb Jœœœb

˙Œ œœ##

œœ˙

Œœœœb œœœ

&

?

b

b

.

.˙ œœ##œœ

Gm9

...˙ œœœb œœœ

.

.œœ Jœœbb Œ ‰ J

œœGm9 C7b13

#9F13

...œœœ Jœœœb Œ ‰ J

œœœb

Œ ‰ Jœœbb Œ ‰ J

œœD7b5#9

G7b13

#9

Œ ‰ Jœœœb Œ ‰ J

œœœbnŒ ‰ J

œœ œœ œœbb œœC7sus C7 F13

Œ ‰ Jœœœ œœœ œœœb œœœb

ACCOMPANIMENT CLASSIFICATIONS

The right hand and the left hand were shown in the examples above to always be acting in concert asone unit. The two hands can behave separately like two sections in a band or orchestra, with the lefthand accompanying the right hand. All accompaniment patterns can be classified into one of threecategories: dialog, independent, and simultaneous. It might seem there should be more than three, butthe melody and accompaniment can either be playing at different times, playing at the same time butindependently, or playing at the same time. A bop line in ex. 11.32-34 shows examples of the three cate-gories of accompaniment patterns.

DIALOG

A dialog is created between the primary and secondary material when the melody is played alone andthe accompaniment answers filling in the spaces between the phrases. The answers can be in the form oflines or rhythmic jabs punctuating the previous phrase or anticipating the next.

INDEPENDENT

The melody and accompaniment may be independent from each other, both pursuing musical goalsthat may or may not always rhythmically and harmonically agree. Independent accompaniment pat-



terns include the Alberti bass patterns, ostinato figures, and repeated rhythmic patterns that establish agroove including the “Charleston Rhythm,” clave beats or montunos.

SIMULTANEOUS

The melody and the accompaniment may act in concert, simultaneously playing exactly the samerhythms or accenting the significant points of the melody. This accompaniment category can be veryemphatic and useful for climactic phrases and sections of a piece.

11.32 illustrates a type of dialog. The left hand plays primarily in rhythmic places where the melodyrests. The chords jab and sharply punctuate the bop line propelling it forward. Any of these examplescould easily be orchestrated for an ensemble as it is written for the piano. The top line could be playedby one group of instruments (trumpet and alto saxophone) while the accompaniment could be playedby another group (trombones).

11.32 Bop line with Dialog accompaniment pattern

&

?

b

b

c

c ‰ Jœœœœ

‰ jœ# œ œ œ œ œn œGm7

∑

œ œ Œ ‰ Jœ ‰jœ

C7

Œ ‰ Jœœœœ Ó

œ œ 3œ œ œ œ œ œ œbGm7

‰ Jœœœœ Œ Ó

œ ‰jœ ‰ Jœ ‰

jœC7

‰ Jœœœb Œ Ó

&

?

b

b

œ œ3

œ œ œ œ ‰ JœF

Ó ‰ Jœœœ Œ

œ ‰ Jœ ‰ Jœ3

œ œ œnBb7 G#°7

‰ Jœœœb ‰ Jœœœœn# Ó

œ ‰ jœ œ œ œ# œAm7

‰ Jœœœœ Œ Ó

œ œ œ œ ÓD7

Ó ‰ Jœœœœ ‰ Jœœœœn#b

There are times when the accompaniment is used to set up a groove or rhythmic bed for the primarymaterial. An ostinato bass line, specific Latin grooves based on the clave beat, or a montuno are exam-ples. In a jazz style, the rhythmic pattern may be the Charleston beat or a variation where the chords an-ticipate each downbeat. The European conception of where these chords occur would be on the down-beat of beats one and three. In Ex. 11.33, each chord is anticipated, arriving on the upbeats of beats fourand two, coming right after the backbeats. Practice playing the left hand groove with the metronome ontwo and four. Imagine the metronome is a swinging hi-hat playing the backbeats. The chords shouldsound right after the backbeats. When this groove is established, try adding the melody and playingother independent lines while keeping the upbeat groove constant. There are great examples of thisgroove in passages by Wynton Kelly, Red Garland and others. A pianist who learns this pattern developsrhythmic independence.



11.33 Bop line with Independent accompaniment pattern

&

?

b

b

c

c ‰ Jœœœœ


Œ ‰ Jœœœœ Œ ‰ J

œœœœ


C7


œœœœ



œœœœbœ ‰

jœ ‰ Jœ ‰jœ

C7

Œ ‰ Jœœœœb Œ ‰ J

œœœœ

&

?

b

b

œ œ3



œœœœb

œ ‰ Jœ ‰ Jœ3

œ œ œnBb7 G#°7

Œ ‰ Jœœœœn# Œ ‰ J

œœœœn



œœœœ

œ œ œ œ ÓD7

Œ ‰ Jœœœœb# Œ ‰ J

œœœœn

The emphatic quality of the simultaneous accompaniment pattern lends itself to climactic phrases. Itcan be overbearing if used to often, and seeks the release of its unrelenting energy. Excellent examplesof this accompaniment concept can be heard in improvisations by Bill Evans and others.

11.34 Bop line with Simultaneous accompaniment pattern

&

?

b

b

c

c


‰ Jœœœœ ‰ Jœœœœ œœœœ œœœœ


C7

œœœœ œœœœ Œ ‰ Jœœœœ Œ


‰ Jœœœœ Œ œœœœ œœœœ œœ

œ ‰jœ ‰ Jœ ‰

jœC7

œœ ‰ Jœœœb ‰ Jœœœ ‰ Jœœœ

&

?

b

b

œ œ3


œœœœ3œœœœ ‰ œœœœ ˙˙˙

œ ‰ Jœ ‰ Jœ3

œ œ œnBb7 G#°7

œœœœb ‰ Jœœœœn# ‰ Jœœœœ Œ


œœœœ Œ ‰ Jœœœœ Œ

œ œ œ œ ÓD7

œœœœ ‰ Jœœœœ# Ó

Using a variety of different accompaniment patterns can help generate the excitement and drama of animprovisation or arrangement. During his improvisation on Freddie Freeloader, Wynton Kelly employseach of the accompaniment pattern. (Kelly’s entire improvisation is shown in chapter 18). In the firstchorus he employed the dialog approach, answering phrases with almost inaudible two or three noterootless shells. As the solo buily, he began playing his left hand chords independently on the upbeats offour and two. At the climatic point, he played the authoritative passage shown in Ex. 11.35. The left handchords supported almost every note played by the right hand. The right hand line was strengthened bythe octave doubling of several notes. He did not continue playing this style for long, changing back tothe independent Charleston rhythm in the last measure. It is easy to imagine this powerful passage beingplayed by a big band as orchestrated.



11.35 Climactic section of blues improvisation

&

?

bb

b b

c

c

3

Jœ œ> œ> Jœ

> œ ŒAb9#11

3

‰œœœb œœœ J

œœœ ...œœœ Jœœœ

‰ Jœœœœ œœnn œœbb œœbb

3œœ œ œb

‰ Jœœœb œœœ œœœ œœœ œœœ œœœ œœœ

œœ œœ ‰ Jœœœbb œ œœ

Bb7

œœœb œœœ Œœœœbn œœœb

&

?

bb

b b

‰ Jœœœ œb œ œ œœb

œœ

Œœœœb œœœbn œœœ œœœ œœœ œœœb

3

‰œœnn œœbb J

œœbb3œœ œb œn œb

∑

Œ 3œn œ œ œ œb œ œ œ œn œ ¿ ¿n ¿œœb ‰ Jœœ Ó

ARRANGING VOICINGS in BRIEF

When students begin an arrangement for big band, their first concern is usually big voicings. Studentswill sit and search for the ultimate chord for each individual note of a piece. The flaw in this conceptionis that instead of thinking horizontally, they are thinking vertically. The music will eventually be heardhorizontally. One student, after hearing his arrangement played, and asked why it seemed so heavy andsluggish. The sluggishness was not because of a tempo beyond the reach of the band. The sluggishnesswas a result of too much emphasis on voicing and not enough on linear development. Each melodynote of the piece was thickly voiced from the top to the bottom. On the bottom of each voicing was abass trombone, a baritone saxophone and the bass playing roots. It is no wonder that the piece feltsluggish carrying all that weight. This section will discuss big band voicings for the individual sectionsand combinations of sections, with a warning to remember that melodic lines propel the piece, notvoicings. One of the best voicings for any section is unison. Listen to eighteen first violins playing amelody in unison, or five saxes, or two trumpets and two altos saxophones, or a guitar, alto saxophoneand flute playing in three octaves and decide if voicings are needed at all.

SAX SOLI VOICINGS

A common device for a saxophone section is to have them play a harmonized soli. Voice leading prin-ciples are not always relevant in this case. All the voices should move parallel in order to focus on themelodic contour. Identify the chord tones of the line first, then deal with the non-harmonic tones.Voicing is done from the top down from the melody note.

FIVE PART BLOCK

Five note block voicings are usually conceived within an octave finding chord tones from the topmelodic note down. The top voice is usually doubled in the bottom voice an octave lower. These chordsare agile and can move swiftly and lightly with saxophone sections. The five note block may be openedup using “drop 2” voicings where the second voice from the top is transposed down and octave. “Drop2” voicings are usually chosen for range considerations when a line may get too high for the baritonesaxophone to blend well. The melody note will still be doubled by the tenor 2 instead of the baritone.



11.36 shows a Gm7 chord with a Bb melodic note. The chord tones for a Gm7 are G, Bb, D, and F. Theninth, A, would not be a good choice in this case as it may distract from the Bb melody note. Begin withthe melody note and find the next chord tones below. In m.2, a close position chord is shown where thealto 1 will play the Bb, the alto 2 the G, tenor 1 the F, tenor 2 the D and the Bb melody note will be dou-bled an octave lower by the baritone. A “drop 2” voicing is shown where the tenor 2 has the melodicdoubling at the octave. These block voicings are common in traditional arrangements.

A voicing that incorporates extra color tones is shown in m.3 of Ex. 11.36. Instead of just the Gm7 chordtones, a Cn has been added for color. The chord is comprised of the G minor pentatonic scale. It isshown in close and open positions. This type of voicing may produce a more modern sound and wasoften used by Thad Jones and others. These colorful voicings work beautifully, but they can detract fromthe melody for two reasons: the extra note eliminates the melodic doubling at the octave and the extracolor tones may struggle with the melody for attention.

11.36 Saxophone voicings

Traditional With extra color note

Close Open Close Open

& b c wGm7

wwwww

Gm7

wwwww

Gm7

wwwwwGm7

wwwww

Gm7

The Fmaj7 chord in ex. 11.37 is shown with C in the melody. The chord tones of a Fma7 are F, A, C, Eand possibly G as the ninth. Close and open position voicings are shown in m.2 using just the 1-3-5-7 ofthe Fmaj7 chord. The root is usually covered by the bass, so it may be redundant in the saxophone sec-tion. Not having to use the root allows for a more colorful voicing to be used utilizing the upper 3-5-7-9structure of the chord. The root can be replaced by the ninth (G). The ninth in no way conflicts with themelody note, and in fact may provide enhanced support at the interval of a fifth. Close and open posi-tion voicings without the root are shown in m.3.

The melody is not doubled at the octave in m.4, instead opting for the extra color tone D. The voicingincludes all the pitches of a C major pentatonic scale used as a voicing over the Fmaj7. This is a morecolorful chord, but comes with the same warning as the one shown in ex. 11.36: it does not have thedoubled melody and the color tones may compete with the melody for attention.

11.37 Saxophone voicings

Traditional with root Traditional without root With extra color note

Close Open Close Open Close Open

& b c wFmaj7

˙˙˙ ˙˙˙Fmaj7

˙˙˙ ˙˙

Fmaj7

˙˙˙˙˙ ˙˙˙Fmaj7

Here are a number of different voicings for the Gm7 and Fmaj7 chord tones. The chords marked withan ‘*’ have no root in the chord using only the upper structure. The ninth was not used in the voicing ifthe melody note was the root or the third as the ninth may detract from the melodic clarity.



11.38 Saxophone voicings for Gm7 chord tones

&

?

b

b

œ œ œ œ œGm7

œœœ œœœ œœœ œœœ* œœœ œœœ* œœœ

*Gm7

œœ œœ œœ œœ œœœœ œœ

œœœ œœœ œœœ œœœ

* œœœ œœœ*

œœœ*Gm7

œœ œœ œœ œœ œœ œœ œœœœœ œœœœœœ œœœ œœœ

Gm7

œœ œœ œœœœ œœ

11.39 Saxophone voicings for Fmaj7 chord tones

&

?

b

b

œ œ œ œœFmaj7

œœœ œœœ œœœ* œœœ* œœœ

*Fmaj7


œœœ œœœœœœ* œœœ

* œœœ*

Fmaj7


œœœ œœœœœœ* œœœ

* œœœ*Fmaj7


There are more voicings available for a dominant chord due to the numerous combinations of alter-ations and substitutions for the ninths and fifths of a dominant chord. Ex. 11.40 is not exhaustive, butlists several possible voicings for C dominant seventh chords. The voicings are shown in close position.Dropping the second voice from the top would create open position voicings.

11.40 Saxophone section voicings for C7 chord tones

&

?

b

b

œœœ œœœ œœœœœœ œœœ

C9

œœ œœ œœ œœ œœœœœb œœœb œœœ œœœb œœœ

C7b9

œœ œœ œœb œœb œœbœœœb œœœbb œœœb œœœbb œœœb

C7b13

b9

œœb œœb œœb œœb œœb

NON-HARMONIC TONES

Identify the chord tones to begin harmonizing a melody. Determine the best voicing for the chordtones before attempting to harmonize the non-harmonic tones. Non-harmonic tones may be harmo-nized in three ways: diatonic parallel motion, chromatic parallel motion, or tonicization by inserting adominant or leading tone chord or a string of dominant chords before the resolution to a chord tone.

DIATONIC PARALLEL

The C is not a chord member of the Gm7 but occurs between the two chord tones Bb and D. The firstand third chords in ex. 11.41 are voiced as Gm7 or Gm9, the chord in between moves parallel using dia-tonic tones. The second chord is an Am7, but is heard on the weaker beat between two Gm7 chords anddoes nothing to confuse the harmonic passage. The chords are shown in close and open positions.



11.41 Diatonic parallel passing chords

&

?

b

b

c

c

œ œ ˙Gm7 X Gm7

∑

œœœ œœœ ˙˙œœ œœ ˙

œœœ œœœ ˙

œœ œœ ˙

The Bb is not a chord tone of Fmaj7 but occurs between the chord tones A and F. The chords in ex.11.42 move parallel using diatonic tones. The passing chord is a Gm7 between two Fmaj7 voicings. Thechords are shown in close and open positions.

11.42 Diatonic parallel passing chords

&

?

b

b

c

c

œ œ ˙Fmaj7 X Fmaj7

∑

œœœ œœœ ˙˙˙œœ œœ ˙

œœœ œœœ ˙

œœ œœ ˙

CHROMATIC PARALLEL

The notes marked with an “¿” are not chord tones, but chromatically lead to chord tones of Gm7.Determine the type of voicing desired for the Gm7 chord tones and approach each voice of the chordfrom a half step below. Every Gm7 chord is preceded by an F#m7 chord. The chords are shown in tradi-tional close position voicings and open position voicings with an added tone.

11.43 Parallel chromatic chords

&

?

b

b

c

c

‰ Jœ# œ œ œ œ# œX

Gm7

X

Gm7

X

Gm7

∑

‰ jœœœ## œœœ œœœ# œœœnn œœœ## œœœn

‰ Jœœ# œœ œœ œœ œœ# œœ

‰ jœœœ## œœœ œœœ# œœœ œœœ#n œœœnn‰ Jœœn œœ œœ# œœ œœ œœbn

The line in ex. 11.44 is a sequence of ex. 11.43 for Fmaj7. Voicings should be first determined for theFmaj9 chords and approached chromatically. Every Fmaj9 chord is preceded by an Emaj9 chord. Thechords are shown in traditional close position voicings and open position voicings with an added tone.



11.44 Parallel chromatic chords

&

?

b

b

c

c

‰ Jœn œ œ# œ œ œX

Fmaj7

X

Fmaj7

X

F

∑

‰ jœœœn## œœœn œœœ## œœœn œœœ#n œœœnn‰ Jœœ#n

œœ œœ# œœ œœ œœ

‰ jœœœn## œœœ œœœ## œœœn œœœn œœœnn‰ Jœœ## œœ œœn œœn œœ# œœn

DOMINANT or LEADING TONE

Non-harmonic tones often belong to the dominant of the primary chord. In ex. 11.45, all of the non-harmonic tones could belong to a D7b9 (V7 of Gm), or a F#°7 (vii°7 of Gm). Pitches marked with “↓” arechord tones of Gm7 and anticipate the downbeats of one and three. All other voicings use the 3-5-7-9 ofthe D7b9, or the 1-3-5-7 of the F#°7: F# - A - C - Eb. The Gm7 voicing on the upbeat of beat four includesthe root. The ninth might have been a more colorful choice, but the alto 2 would repeat the A. Havingthe alto move to the G retains the contour of the line which is more important than individual chords.

11.45 Functional dominant & leading tone chords

&

?

b

b

c

c

Ó ‰ Jœ œb œ↓

∑

œ œ œ œ↓ œ œ# œ œ↓

Gm7

∑

Ó ‰ jœœœ#b œœœb œœœn↓

Ó ‰ Jœœœœb œœ

œœœ œœœb œœœ# œœœn↓

œœœ œœœ# œœœ œœœ↓

Gm7

œœ œœ# œœ œœ œœ œœb œœ œœn

In ex. 11.46 all of the non-harmonic tones are chord tones of a C7b9 (V7 of F minor), or a E°7 (vii°7 of Fminor). The F chord tones marked “↓” are preceded by E°7 chords.

11.46 Functional dominant & leading tone chords

&

?

b

b

c

c

Ó ‰ Jœ œb œ↓

∑

œ œ œ œ↓ œ œ œ œ↓

Fmaj7

∑

Ó ‰ jœœœb œœœb œœœ↓

Ó ‰ Jœœœœb œœ

œœœ œœœb œœœ œœœ↓

œœœ œœœ œœœ œœœ↓

Fmaj7

œœ œœ œœ œœ œœ œœb œœ œœn

Functional diminished chords may have tones added that are usually a whole step above one of thechord tones These tones are derived from a symmetrical diminished and not the harmonic minorscale. Ex. 11.47 uses several diminished chords to voice non-harmonic tones. The passing tone betweenBb and G is voiced as an F#°7 without added tones. The F is voiced as a B°7 with an added Db and moveschromatically down to a C7b9. All of the melody notes spell out the E°7 chord and are voiced with extranotes a whole step above one of the chord tones. The extra notes include a C, Eb, F#, and A.



11.47 Diminished chords with added tones

&

?

b

b

c

c

œ œ œ œ œ œ œ œbGm7 C7

b9

∑

˙ ÓFmaj7

∑

œœœ œœœb œœœ œœœbn œœœnb œœœb œœœ#n œœœbGm7 C7

b9

œœ œœ# œœn œœb œœb œœ œœbœœ

˙ ÓFmaj7

˙n Ó

Not all lines need to or should be voiced. Some lines are stronger in unison or octaves. A line maymove from unison or octaves to being voiced at the top or ends of phrases.

11.48 Unison lines ending with harmony

&

?

bb

b b

c

c

‰ jœ#‰ jœ#

œ œ œ œ œb œ œœn# œœBb7

œ œ œ œ œb œ œœœn œœœnœœ œ œb œ œ œœ## œœnnœœœ œ œb œ œ œœœnn# œœœbbn

Some lines lend themselves for the treatment illustrated in ex. 11.49. The line begins in unison, splits incontrary motion. The top line rises while the lower line descends creating an expanding wedge whichproduces a sense of growth to the passage. The widest spread between the outer voices occurs at the cli-max of the line.

11.49 Unison lines spread in contrary motion to voicings at high point

&

?

c

c

Ó ‰ jœ œ œ#Ó ‰ Jœ œ œ#

œ œ œœ œœœ# œœœn œœœ œœœœ œ# œn œb œ œ œœbb œœ

wwwww

Many non-harmonic tones lend themselves to several harmonization choices. The melody note at (a.)in ex. 11.50 could be voiced using a functional F#°7 or a parallel chromatic F#m7 chord. The F (b.) is achord tone of Gm7 or the secondary dominant G7 and its tritone substitute Db. In the first setting, anF#°7 is used at (a.) and a Gm7 at (b.). The second setting uses the chromatic F#m7 at point (a.). At (b.) aDb7 chord is used which is both a chromatic parallel voicing and a functional tritone substitute domi-nant.



11.50 Functional F#°7 Parallel chromatic F#m7

&

?

b

bœœœ ‰

jœœœb œœœ œœœ œœœ œœœ

Gm7 C7

œœ ‰ Jœœ#œœ œœ œœ œœ

∑

∑œœœ ‰

jœœœ# œœœ œœœ œœœ œœœ

Gm7 C7

œœ ‰ Jœœ#œœ œœ œœbb œœ

∑

∑

a. b.a. b.

MELODIC LINE SHOWN with OPTIONS

Since there many harmonization possibilities, it would be useful to examine a number of options for acommon line.

11.51a Basic line

& b Ó ‰ jœ#3

œ œ œa. œ œ œ# œ œ œb œ

Gm7 C7 F

b. c.

This melody could be harmonized with four voice blocked with the melody doubled at the octave orfive voices with added color tones in the style of Thad Jones. The three non-harmonic tones (a., b., andc.) could be treated in the following methods:

a. (1) Parallel chromatic: F#m7 moving up to Gm7.(2) Functional dominant or leading tone: Gm7 preceded by a D7b9 or F#°7.

b. (1) Parallel chromatic: B7 moving up to C7.(2) Secondary dominant: G7 or tritone substitute dominant, Db7, resolving to C.

c. (1) Parallel chromatic: Gbmaj7 moving down to Fmaj7.(2) Secondary dominant: C7 or tritone substitute dominant Gb7, resolving to Fmaj7.

11.51b illustrates all parallel motion using “drop 2” four part voicings with the melody doubled an oc-tave lower by the tenor 2. Non-harmonic tone treatment: (a.) parallel chromatic motion: F#m7 up toGm7; (b.) parallel chromatic motion: B7 up to C7; and (c.) parallel chromatic motion: Gbmaj7 down toFmaj7. 11.51c illustrates all dominant functions using “drop 2” four part voicings with the melody dou-bled an octave lower by the tenor 2. Non-harmonic tone treatment: (a.) functional vii°7/ii: F#°7 to Gm7;(b.) secondary dominant: Db9 as a tritone substitute for G7 resolving to C13; and (c.) secondary domi-nant: Gb9 as a tritone substitute dominant for C7 resolving to Fmaj9.



11.51b “Drop 2” four voice 11.51c “Drop 2” four voice using °7using parallel chromatic motion & dominant substitutes

&

?

b

b

c

c

Ó ‰ jœœœ##3

œœœ œœœnœœœ

Ó ‰ Jœœ#3œœn œœ œœa.

œœœ œœœ œœœ###œœœ œœœ œœœbb œœœn

Gm7 C7 F

œœ œœ œœ# œœ œœ œœb œœnb. c.

Ó ‰ jœœœ#3


Ó ‰ Jœœ#b3œœn œœ œœa.

œœœ œœœ œœœbnb œœœnn œœœ œœœbb œœœGm7 C7 F

œœ œœ œœbb œœ œœ œœb œœnb. c.

There is a slight difference between ex. 11.51b and 11.51.d. Ex. 11.51b uses four distinct voices with themelody doubled at the octave; e. 11.51d uses five distinct voices. Non-harmonic tone treatment: (a.) par-allel chromatic motion: F#m7 up to Gm7; (b.) parallel chromatic motion: B7 up to C7; and (c.) parallelchromatic motion: Gbmaj7 down to Fmaj7. 11.51e harmonizes the passage using the same principles asshown in ex. 11.51c but eliminates the melodic doubling in favor of a fifth voice. Non-harmonic tonetreatment: (a.) functional vii°7/ii: F#°7 to Gm7, (b.) secondary dominant: Db9 as a tritone substitute forG7 resolving to C13; and (c.) secondary dominant: Gb9 as a tritone substitute dominant for C7 resolvingto Fmaj9.

11.51d “Drop 2” four voice 11.51e “Drop 2” five voice using °7using parallel chromatic motion & dominant substitutes

&

?

b

b

Ó ‰ jœœœ#n#3

œœœn œœœnœœœ

Ó ‰ Jœœ

3œœ œœ œœa.

œœœ œœœ œœœ###œœœ œœœ œœœbb œœœn

Gm7 C7 F

œœ œœ œœ# œœ œœ œœb œœb. c.

Ó ‰ jœœœ#3


Ó ‰ Jœœb

3œœ œœ œœa.

œœœ œœœ œœœbb œœœnn œœœ œœœbb œœœGm7 C7 F

œœ œœ œœbb œœ œœ œœb œœb. c.

In the search for the best setting for a line, do not rule out simplicity for the sake of dense harmony. Thesetting in ex. 11.51f is quite useful. The melody is set as a single line over four voices providing a har-monic foundation.

11.51f Single line with harmonic accompaniment

&

?

b

b

Ó ‰ jœ#3

œ œ œ

∑

œ œ œ# œ œ œb œGm7 C7 F

œœœœ ‰ Jœœœœb œœœœ ‰

Jœœœœ

Is there much difference in the previous settings that the listener will be able to discern? Maybe not. Thelistener may only remember the top line rather than some dense, incredibly “hip” voicing on the up-beat of two screaming by at 288 on the metronome. If the listener only comprehends the top melody



line, then they have perceived the most important part of the piece. That is the important thing to re-member: place the melody in the best setting and only do things that enhance and nothing that detractsfrom the melody. To make a decision about the best setting for a line, the following things may be con-sidered:

• The forward flow and melodic integrity: Does the setting enhance the primary lines? Does ithelp or hinder the forward flow?

• Where does it occur in the arrangement: Nearer the beginning may need to be simpler andtowards the end may want to gradually become more complex.

• Context: How will a particular setting blend or contrast with what came before and whatcomes next?

• Inner parts: Which settings lend themselves to the smoothest voice leading. Inner parts thatare too awkward may detract from the melody and the forward flow.

Some harmonization concepts may be applied to several notes in the passage. The line from ex. 11.51below is extended by a measure and uses extended chromatic parallel motion and dominant cycles. TheGm7 is chromatically preceded by the F#m7 chord. The C7 is twice preceded by a Db7 chord, which isboth parallel chromatic motion and a functional dominant substitute. The C7 in m.3 is preceded chro-matically by a Bb7 and a B7. The last six chords all point to the F7 through a series of dominants. Begina harmonization like this from the destination chord and work backwards to the beginning point. Thelast chord is F so the preceding dominant must be C7. The dominant of C is G7, so it must be precededby a D7. The dominant of D is A whose dominant is E7. All of the inner voices move smoothly, andwhile they may be a bit difficult to sing, the can be easily played by a saxophone section. The chromatictones are shown below according to vertical chord spellings. If this passage was copied out for individ-ual instruments, enharmonic spellings should adhere to linear considerations. In beat two of the secondmeasure below, an Eb is in the melody resolving up to the En. The Eb was chosen to help visualize its rela-tionship as the ninth of Db9. It should be written as a concert D# leading to En in the individual part. Inorder to avoid awkward repeated tones, some inner voices may cross as indicated by the lines in m.2.

11.51g Extended chromatic and dominant devices

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b

b

c

c

Ó ‰ jœœœ##3


F#m7 Gm7

Ó ‰ Jœœ#3œœn œœ œœ

œœœ œœœ œœœbb œœœn œœœ œœœb œœœn œœœDb7 C7 Db7 C7 Bb7

œœ œœ œœbb œœ œœ œœ œœ œœnb

œœœn## œœœ œœœn œœœ## œœœbnn œœœbnb œœœnbb œœœnB7 C7 E7 A7 D7 G7 C7 F7

œœ# œœ œœn# œœnn œœb# œœbn œœn œœnb

BRASS VOICINGS

Brass voicings are constructed from the top melodic pitch down as were saxophone voicings. There aretwo basic styles for combining the trumpets and the trombones. A more traditional approach is for thetrombones to play an octave lower exactly the same thing as the trumpets. A more contemporary soundmay have them playing independent parts of the chord. Some of the simpler combinations are shownin Ex. 11.52. The chord at (a.) would sound bland for a jazz chart. It can be improved by opening thechord up and adding a thirteenth as at (b.). The chords c., d., and e. illustrate matching voicings playedby both sections. The root may be used in the lowest trombone as at f., g., and h., but is best suited forthe end of a phrase. Using roots voiced low can be powerful during emphatic jabs, but can make the linefeel sluggish if used too often.



11.52 Brass voicings for C7a. b. c. d. e. f. g. h. i. j.

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b

b

wwwwwwww

wwwwwwww

wwww wwwwwwww wwww

wwww wwwwwwww wwww

wwww wwwwwwwwwwww

wwwwwwww

wwwwwwww

TRUMPETS:

TROMBONES:

One method for creating more interesting combinations and colorful chords is to voice the trumpets invarious triads over the traditional chords in the trombones. Triads resonate well because of the physicslaws of the overtone series, and this is true even when the superimposed triad does not agree with theunderlying structure. An A major triad (a. and e.) over a C7 chord creates a C13b9. The Ab major triad(b. and f.) yields the #9 and b13 over a C7 chord. An F# major triad (c. and g.) creates a C7 with a b5 or#11 and a b9. A D major triad (d. and h.) creates a C9#11. Notice that the fifth is often not used in thetrombones so as not to disagree with the #5, #11, 13 or b13.

11.53 Brass voicings for C7 using triad superimpositiona. b. c. d. e. f. g. h.

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b

b

wwww#wwwwb

wwwwbbbnwwwwb

wwww####wwwwb

wwww#

wwwwn

wwww#wwwwb

wwwwbbbnwwwwbb

wwww####wwwwbb

wwww#

wwww

TRUMPETS:

TROMBONES:

Tighter, close position voicings are more agile. Voicings with large spreads do not move briskly, but arequite effective as punctuation during and at the end of phrases or sections. The first three voicings wouldbe useful during more rapidly moving lines; the last two for the culmination of a phrase. The first threeillustrate again the idea of the trombones mimicking the trumpets at the octave. The root is not includedin the first three voicings, since it would appear in the bass part. These chords are Fmaj9 constructed ofthe 3-5-7-9 of the chord.

11.54 Brass voicings for Fmaj7

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b

b

wwwwwwww

wwwwwwww

wwwwwwww

wwwwwwww

wwwwwwww

TRUMPETS:

TROMBONES:



Several voicings are shown below for Gm7. Chords a.-f. are suitable for moving lines and assertivestatements. Chords g. and h. are better for the conclusion of lines or bold jabs, due to the wide range ofthe voicings and the root on the bottom. Chords b. and c. are almost the same, except c. has the ninth,a more colorful note, instead of doubling the root. Chords d., e., f., and h. illustrate the use of a triadvoiced in the trumpets over the fundamental chord in the trombones. The F triad creates a Gm11 chord.

11.55 Brass voicings for Gm7a. b. c. d. e. f. g. h.

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b

b

wwwwwwww

wwww wwwwwwww wwww

wwwwwwww

wwwwwwww

wwwwwwww

wwwwwwww

wwwwwwww

wwwwwwww

TRUMPETS:

TROMBONES:

11.54 shows the triadic superimposition formulas over a turnaround in the style of Thad Jones. The firstDm7 chord is voiced identically in the trumpets and trombones. The next four chords all feature paral-lel triads over the fundamental voicings in the trombones. The A over a G7 creates a G9#11. The Ab overthe C becomes a C7 (b9/b13). The two chords are sequenced creating an F9#11 and a Bb7 (b9/b13). Thebass and fifth trombone are playing the roots. The next two lowest notes on the four dominant chordswere the third and seventh. Stacking triads and color tones over a dominant chord works best when thetritone is on the bottom helping identify the basic dominant chord quality.

11.56

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bb

b b

c

c

œœœœ Œ˙##n

Dm7 G9#11

œœœœœ Œ

˙˙˙

nn

˙bb ....œœœœnn Jœœœœbbbb

C7b13

#9F9#11 Bb7b13

#9

˙˙˙

bn

.....œœœœœb

jœœœœœnb#

TRUMPETS:

TROMBONES:

BASS:

The chords moved parallel up a half step to harmonize the upper neighbor tone in ex. 11.57 from ThadJones. He managed to keep the trumpet triads moving in half-steps when the chord moved to the domi-nant. The basic progression was Dm7 - G7 - Cm7 - F7. The F triad over the Dm7 yielded the primarychord tones 3-5-7. When the F triad moved down a half-step to E over the G7 it created a colorful G13b9chord. This was sequenced for Cm7 - F7 in the second measure. The widest spread voicings with the low-est notes were the ones at the end of the eighth note lines.



11.57

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bb

b b

œœœœœœœœbb œœœœ œœœœ##nn Œ ‰ J

œœœœ##nnDm7 G13

b9

œœœœœœœœbbb œœœœn œœœœnn Œ ‰

Jœœœœnn

œœœœnnbb œœœœ##nn œœœœnnbb œœœœ## ÓCm7 F13

b9

œœœœbb œœœœ##nn œœœœnnbb œœœœ Ó

TRUMPETS:

TROMBONES:

Triads are used in this turnaround leading to F. An F triad is imposed over an A7 to create an A7b9/b13;Bb triad over the Ab7 creates an Ab9#11; Eb triad over the G7 creates a G7 b9/b13; Ab over the C7 creates aC7 b9/b13; and the G over the F7 creates an F9#11.

11.58

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b

b

˙ ˙A7b13

#9Ab9#11

˙˙b ˙

˙bb

˙b ˙bbG7b13

#9C7b13

b9

˙˙bn ˙

˙b

wwwwnF9#11

wwwwb

TRUMPETS:

TROMBONES:

The chord shown in ex. 11.59 is composed of two fully diminished seventh chords; one for the trumpetsand one for the trombones. The result is a Bb7 with a b9, #9, b5, and a n13. This chord is sometimes calledthe “Duke” chord [and jokingly referred to as Bb “fully demolished.”] It is often used at the end of bigsections or the end of the piece.

11.59

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bb

b b

œœœœœn#^Œ Ó

Bb7

œœœœœbb Œ Ó

TRUMPETS:

TROMBONES:

The concept of using dominants and dominant cycles of can be illustrate beginning with this simpleline. The original harmony might call for a basic ii7 - V7 progression leading to the Bb7.



11.60a Simple line over ii7 - V7 harmony

& bb œ. œ. œ œ# ‰ Jœ

Cm7 F7 .œ Jœn ‰ .œ œ. œ. œ œ ‰ JœnCm7 F7

wBb7

Using the method of working back from the final chord, a series of functional chords may be added.

11.60b Enhanced with V7/iii - iii7 - V7/ii - ii7 - V7


Cm7 F7 .œ Jœn ‰ .œA7

œ. œ. œ œ ‰ JœnDm7 G7 Cm7 F7

wBb7

The A7 could be preceded by its dominant E7. The F7 and Cm7 can be preceded by their dominants orby the tritone substitution. The ii7 and iii7 chords could be changed to dominants, and any of the otherdominant chords may be changed to a tritone substitution.

The final example will be based on the chords shown in ex. 11.60c. It begins with the original ii7 chordCm7 which is followed by its dominant which points back to Cm7. A secondary dominant (C7) is re-placed by its tritone substitute (Gb9) which points to the original F7. An E7 points to A7 which is re-placed by its tritone substitute (Eb9). Ab9 is substituted for the D7 which points to the G7. The dominantcycle continues through the C7 and F7 leading finally to the Bb7. Any number of bass lines are possiblefrom the E7 in m.2 to the end. A cycle of fifths pattern would work: E7 - A7 - D7 - G7 - C7 - F7 - Bb7. Theirtritone substitutes would also work: Bb7 - Eb7 - Ab7 - Db7 - Gb7 - Cb7 - Bb7. Many combinations of descend-ing half-step or fifth motion would work: Bb7 - A7 - Ab7 - G7 - Gb7 - F7 - Bb7.

11.60c


Cm7 G7 Cm7 Gb7 F7 .œ Jœn ‰ .œE7 A7

œ. œ. œ œ ‰ JœnDm7 G7 Cm7 F7

wBb7

This passage works well voicing the trumpets with superimposed triads over the basic trombone chords.The triadic superimposition formulas used to create the complex chords in ex. 11.60d are:

Eb triad over G7 creates G7 #9 b13Ab triad over Gb7 creates Gb9#11D triad over F7 creates F13b9C triad over E7 creates E7 #9 b13F triad over Eb7 creates Eb9#11Bb triad over Ab7 creates Ab9#11Eb triad over G7 creates G7 #9 b13Ab triad over C7 creates C7 #9 b13Db triad over F7 creates F7 #9 b13C triad over Bb7 creates Bb9#11



11.60d Voiced for eight brass

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bb

b b

c

c

œœœœ. œœœœ. œœœœ œœœœbb ‰ J

œœœœnn#Cm7 G7b13

#9Cm7

Gb9#11 F13b9

œœœœ. œœœœnb. œœœœb

œœœœbn ‰ J

œœœœnnb

....œœœœ Jœœœœn ‰

....œœœœnE7b13

#9Eb9#11

....œœœœ Jœœœœ#n ‰

....œœœœbbn

œœœœ. œœœœ. œœœœb

œœœœb ‰jœœœœnn

Ab9#11 G7b13

#9C7b13

#9F7b13

#9

œœœœbb. œœœœn . œœœœbn

œœœœbb ‰

jœœœœb

wwwwBb9#11

wwww

TRUMPETS:

TROMBONES:

BRASS & SAXOPHONE COMBINATION VOICINGS

There are times when an arrangement calls for the saxophones and brass to play large voicings as acombined ensemble. Each section should be approached as demonstrated earlier. The saxophone andbrass sections should sound complete independent of the other. The melody in the passage below isplayed by at least three instruments at any moment. The trumpet 1 melody is doubled down an octaveby trumpet 4 and alto 1.

Two parallel chromatic chords precede the F7 on the upbeat of two. A tritone substitute dominant re-solves to the Bb7 on the upbeat of four. The triplet works better with the band in unison and octavesleading to the last three dominant chords, G7 - C7 - F7.

11.61 Brass & saxophone combination

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b

b

b

b

c

c

c

c

Ó Œ œ^

Ó Œ œ

Ó Œ œ^

Ó Œ œ

œœœ œœœ###œœœn œœœbb ‰

jœœœ### ‰jœœœnnn>

œœbœœ œœ#n œœ ‰ J

œœn ‰ Jœœbb>

œœœ œœœbb œœœnnn œœœb ‰jœœœœ### ‰

jœœœœnnbn>

œœœœbœœœœb œœœœnnn# œœœœb ‰ J

œœœœ##n ‰ J

œœœœnnbb>

œœœ œ#3

œ œ œ œœœbn-œœœbb œœœ>

œœ œ#3œ œ œ œœ-œœœœb>

œœœœ œœ##3œœœœœœ œœœœ##n- œœœœbbbn œœœœn#

>

œœœœ Œœœœœn - œœœœbb œœœœnb>

wwwwwwwwwwwww

TRUMPETS:

SAXOPHONES:

TROMBONES:

The trumpets are voiced with triads exclusively in the iiø7 - V7 sequence shown in ex. 11.62. The melodyis played by trumpet 1 and doubled by trumpet 4 and alto 1. The brass and saxophone sections are in-dependently harmonically clear.




&

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bb

b b

b b

b b

‰ jœœœ# Œœœœnb^ œœœ^Eø7 A7

‰ Jœœn Œ œœ^ œœ^

‰ Jœœœœ# Œœœœœn^ œœœœ^

‰ Jœœœœn Œœœœœ# ^ œœœœ^

...œœœnbjœœœbn>œœœ œœœb^Dø7 G7

..œœ jœœ>œœ œœ^

....œœœœn Jœœœœb> œœœœ œœœœbbb

^

....œœœœbJœœœœn> œœœœ

œœœœ^

œœœb œœ œœœœœœbb>œœœ œœœb œœœn

>Cø7 F7

œœ œœ œœ>œœ œœ œœ

>

œœœœ œœœœœœœœœœœbbb> œœœœ œœœœ###n

œœœœn>

œœœœbœœœœœœœœb> œœœœ

œœœœœœœœn>

...˙ ŒBbmaj7

#11

..˙ Œ

....˙ Œ

....˙˙ Œ

TRUMPETS:

SAXOPHONES:

TROMBONES:

In ex. 11.63, the G7 is the V7/ii and points to the Cm9. The Gb9 is the tritone substitute for the V7/V(C7). Rather than approach the final chord with its dominant, the A13 chord moves parallel up to theBb7. This example ends with the eight tone chord created by stacking a fully diminished chord over an-other. The last chord is a Bb7 with a b9, #9, b5, and a n13 created by voicing a C#°7 in the trumpets over aB°7 in the trombones (over the Bb in the rhythm section).


&

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bb

b b

b b

b b

Ó ‰ ...œœœnG7b13

#9

Ó ‰ ..œœ

Ó ‰ ....œœœœ

Ó ‰....œœœœn

œœœœœœb œœœb œœœ œœœn## œœœ

Cm9 Gb9#11 F7b13

#9A13 Bb13

œœ œœbœœœœœœ œœb

œœœœœœœœbœœœœbb œœœœ œœœœn# œœœœn#

œœœœœœœœbnœœœœbbœœœœ œœœœn# œœœœnbn

TRUMPETS:

SAXOPHONES:

TROMBONES:



SPECIAL CASE & CLUSTERS VOICINGS

Contemporary settings may lend themselves to dense voicings using non-traditional structures. Thereare more examples of non-traditional approaches to harmony in Chapter 19. The harmonic passage inex. 11.64 is a traditional ii7 - V7 - I, but the voicings emphasize colorful clusters rather than tertianchords.

11.64 Voicings emphasizing clusters

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bb

b b

43

43

œœœœ œœœœ œœœœCm9

œœœœ œœœœ œœœœ.˙

....˙˙˙n#bF13b9

....˙˙ .˙

....˙˙˙Bbmaj7

#11

....˙˙˙n .˙

TRUMPETS:

TROMBONES:

BASS:

A modal piece might suggest parallel planing of voicings as in ex. 11.65. Each of these muted brass voic-ings has many levels of tension. Several of the chords are symmetrical built of alternating thirds andseconds. The chords played by each section are simple, but the combinations are complex. These voic-ings occurred over an ostinato bass line in A phrygian.

11.65 Bert Ligon: excerpt from Arches

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b

c

c

œœœœ œœœœ œœœœ œœœœA Phrygian

œœœœ œœœœ œœœœ œœœœ

wwwwwwww

TRUMPETS:

TROMBONES:

Cluster voicings were used to harmonize this simple melodic line in ex. 11.66. The melody was con-ceived unrelated to a harmonic progression. The chosen voicings were more random so as not to sug-gest a traditional harmonic progression. The line includes a variety of structures including traditionaltertian voicings, clusters, and quartal voicings.

11.66 Bert Ligon: Dancer

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43

43œœœb œœœ œœœbbœœœœœœb œœœb

œœœbœœœb œœœn

œœœœœœbb œœœ#n

œœœ œœœbœœœbb

œœœ## œœœb œœœbnœœœ œœœbbb œœœbœœœbb œœœbb œœœb

....˙bnb

.˙b

TRUMPETS:

TROMBONES:



VOCAL VOICINGS

Vocal harmony follows the voice leading principles that apply to any instrument. The inner partsshould move very smoothly and logically. Many odd interval leaps in the inner voices can be difficultto hear and perform for a vocal group. Care must be taken to prepare dissonances with vocal groupsmore so than with other instrumental sections. The saxophone holds down a key, as does the pianist, buta singer has to produce the note from within. Any reference point or help given by the arranger is pru-dent. Copyrighted tunes are not available for examples in this book, but the example below works well ina vocal group. Any of the lines may move a bit more freely depending on the lyric. When the top line isat rest, the inner voices may advance the music as shown in mm.3-4.

11.67

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bb b

b b b

c

c

˙ ˙Doo ooo

vocal

˙ ˙˙b

˙n ˙b˙˙n ˙bn

˙ ˙œ3

œ œ œ ˙b˙˙nb ˙n

˙ ˙œ3

œ œn œ ˙˙bb ˙

˙ ˙˙˙˙ ˙˙

wwwbbwwb

wwwn

ww

STRING ENSEMBLE VOICINGS

A string ensemble will sound good using any of the voicings shown above. More players on each indi-vidual part creates a richer sound. If enough players are on a part, then sections may be divided or playdivisi. Consult with other sources and individual players before writing double and triple stops in a sec-tion. The close position passage in ex. 11.68 would work well for a quintet of strings, saxophones, vocalsor a combination of horns (trumpet, alto saxophone, tenor saxophone, trombone, and baritone saxo-phone). If more than a quintet of strings are available, the upper part may be doubled up an octave by afirst violin.

11.68 Close voicings for string section

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c

c

˙˙˙ ˙˙˙#Em7 A7b13

#9

˙ ˙

˙˙˙n ˙˙˙b œb œbDm9 G7b13

b9

˙ ˙wwww

Cmaj7

w

Open voicings, using “drop 2” voicings, allow the listener to better distinguish the individual lines. Theopen position voicings in ex. 11.69 work well for strings over a bass or several combinations of instru-ments or voices.



11.69 Open voicings for string section

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c

c

˙˙˙ ˙˙#

Em7 A7b13

#9

˙ ˙

˙˙n ˙b œb œb

Dm9 G7b13

b9

˙ ˙wwww

Cmaj7

w

A larger string group can effectively use voicings with a wider range than “drop 2.” In order to voice thepassage evenly over two octaves in ex. 11.70, two voices were moved to lower registers. The second voice(G) was dropped two octaves and the third voice (E) was dropped one octave. This passage works betterwith several strings on a part. It may sound a bit empty and separated with only one player per line. Ifthere are enough on a part, the first and second violins could play divisi doubling the melody down anoctave lower. It is difficult for a group of horns to achieve a blend with a voicing this wide. The trumpetwould be in a very high register and the trombone and others in medium registers making the blend dif-ficult due to the contrast of sound character.

11.70 Wide open voicings for string section

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c

c

˙˙ ˙˙

Em7 Em7

˙ ˙

˙˙

˙˙#

Em7 A7b13

#9

˙ ˙

˙˙n ˙

˙bœb œb

Dm9 G7b13

b9

˙ ˙

wwww

Cmaj7

w

There are numerous scores available for closer and further study. Many school libraries have scores toclassic big band charts, vocal jazz charts and small combo charts. Study the interesting arrangers. Listenfor attractive places in a chart and formulate questions regarding the effect. What made it interesting?Was it a voicing, a line, a contrapuntal treatment? What was the voicing? Did the voicing use mixed sec-tions or standard sections? Were there doubles (flutes, clarinets) or mutes in the brass? What was themusical effect and how was it achieved? Where in the piece did it occur and why? What were the ex-treme ranges and how did the instruments sound at those points? What other devices were employed tomake one section stand out against another? File these away in your memory for use later when arrang-ing. The best writers (of prose and of music) keep notebooks of ideas, excerpts, quotes, and sketches fornew works.

LINES MOTIVATE MUSIC

Voicings can enhance a piece but rarely are they the main focus. A drummer will speak of the beat; abassist will remember some bass line; and the pianist will usually remember the chords of a piece. Listento the listeners and how they describe or remember a piece. The listeners remember the melody andthe lyrics. The are many great arrangements that rely on individual lines to propel the piece where themelody is in one or more voices over a bass and a counter line follows using an important guide toneor thumb line.

302 Chapter 12 Modal Jazz


XII. MODES & MODAL FRAMEWORKS

Some of the music of the late 1950’s and early 1960’s became a new modern sound through the use ofmodal frameworks rather than the tin-pan alley harmonic frameworks favored by bebop. The origins ofthe new modal music is often traced to the Kind of Blue recordings of Miles Davis. It has been writtenthat this modal approach was in response to the fast tempos and overloaded harmonic palette of be-bop. While a bop tune may have one of two chords per measure, a modal piece may have one chord ormode that lasts eight to sixteen measures or more. Some tunes may be based entirely on one mode.

As much as this new modal sound was looking to the future, it also looked to the distant past. While newto the jazz language in the middle of the twentieth century, modal music is quite old in the history ofmusic. The major/minor harmonic system is a uniquely European concept that began to develop in theearly Baroque period. One of the first theory books explaining the system was published in 1722 (Jean-Philippe Rameau, Treatise on Harmony). The beginning of the end for the major/minor system couldbe dated 1859 with Wagner’s highly chromatic and tonally ambiguous Prelude, from Tristan and Isolde.Wagner’s harmonic approaches were the antithesis of the major/minor system. The harmonic progres-sions in a major/minor system function to point to the tonic as the primary pitch. Wagner’s progres-sions obscured any sense that one pitch was the central pitch to which all others pointed. History sincethat time produced Debussy, Schoenberg, Stravinsky, and countless others who each contributeduniquely to the obliteration of the major/minor harmonic system. If the major/minor system was aEuropean convention for the brief time between the early seventeenth and the twentieth century thenwhat came before and what types of music were occurring in other parts of the world? Much of it wasmonophonic created using single scales or modes. The modes that correspond to the major scale(ionian) and the natural minor (aeolian) are, ironically, not even the most common modes. The moveaway from the strict tyrant of the major/minor system to the many facets of contemporary jazz is signif-icant for two reasons: the move mirrors the European classical tradition of destroying the old systems tobuild many new ones; and many of the new systems are based on even older traditions using modes.

Part of the attraction to an improviser in a modal setting is that there is much more time to developlines without concern for a predetermined harmonic progression. If something can be done with a Dm7chord that lasts two beats, what could be done over eight or sixteen measures? Relief from one set of re-sponsibilities only creates a new ones. The modal improviser may not have to be concerned with har-monic progressions, guide tones and established voice leading principles, or the tones that modulateone key to the next, but the improviser must find other ways to conceive and construct sensible impro-visations.

In the liner notes from the Kind of Blue recording session, Bill Evans described the tune So What as “asimple figure based on 16 measures of one scale, 8 of another and 8 more of the first.” Were melodiesreplaced by “scale running?” Were chromatic tones eliminated in favor of strict heptatonic (seventone) scales? A quick listen to the improvisations of Cannonball Adderley, John Coltrane, and MilesDavis confirms that no one was aimlessly running scales, and chromatic tones occurred that did not de-ter from the modal clarity. The bebop vocabulary was not avoided or abandoned and was often used inmodal passages suggesting harmonic progressions where there were none. The form of these modaltunes often mirrored the thirty two measure forms of show tunes. A form used by Miles Davis, JohnColtrane, J. J. Johnson and others is shown below. The form is AABA. The only change is the D dorianmode modulating up to Eb dorian for the B and back again for the last A section. Are the chords Dm7and Ebm7? They could be. Since modal music is a departure from the traditional structures, tertian har-

Chapter 12 Modal Jazz 303


mony (chords built from stacking intervals of thirds) is often abandoned for chords built on combina-tions of other intervals like fourths and seconds. Listen to the accompaniment and solo of Bill Evans onSo What for cluster chords and sounds not defined by major/minor chord systems.

12.1 Common AABA form for Modal Composition

D dorian ‘ ‘ ‘ ‘ ‘ ‘ ‘D dorian ‘ ‘ ‘ ‘ ‘ ‘ ‘Eb dorian ‘ ‘ ‘ ‘ ‘ ‘ ‘D dorian ‘ ‘ ‘ ‘ ‘ ‘ ‘

Students are often assigned modal tunes such as So What for their first improvisational vehicles, thelogic being the less complicated modal frameworks would be easier for a beginning improvisers. Thesestudents do not always agree about the ease and often ask, “So What do I do now?” They often havemore trouble inventing lines without the restrictions and guide posts that are available in a harmonicprogression. Sixteen measures of D dorian (no sharps and no flats) to a beginner is often inhibiting,presenting too much freedom of choice when they are at the least inventive state in their development.A modal piece for a beginner must seem like being dropped in a Nebraska field in a blizzard and askedto find their way home. There are no visible boundaries, no fence posts, no celestial guides, nothing buta sea of white notes. A piece with a harmonic framework may be like dropping them somewhere inManhattan. It can be also be frightening, but the streets go east-west, the avenues north-south, and up-town and downtown are meaningful directions.

The modes primarily used by jazz improvisers are related to the ancient Greek and Church modes.These modes can and should be learned just as major and minor scales are learned. Each mode hascharacteristic identifying pitches, its own key signature and may be transposed, as major and minorscales, to other pitch centers. Methods for constructing forms for improvising and developing melodieswe be discussed later in this chapter.

The basic modes can be found using the familiar major scale as a starting point. A major scale hasseven scale steps. The tonic of the major scale would be numbered “1.” A scale could be constructed onany of the other six scale steps which would yield six differently constructed scales or modes. It may behelpful to imagine a slide rule where one side has the musical alphabet and the other has the numbers1-7. Lining up the 1 with any new letter indicates a new tonic. While all of these scales share the same keysignature, they would have different intervals in relationship to their tonic pitch. The chart below showsthe modes by name, by their relationship to a major scale, their construction by intervals related to thetonic, and their constructions by the intervals between adjacent pitches.

MAJOR SCALEDEGREE

MODE NAME INTERVALS RELATED toTONIC

INTERVALS BETWEENADJACENT PITCHES

1 IONIAN 1 M2 – M3 – P4 – P5 – M6 – M7 W-W-1/2-W-W-W-1/22 DORIAN M2 – m3 – P4 – P5 – M6 – m7 W-1/2-W-W-W-1/2-W3 PHRYGIAN m2 – m3 – P4 – P5 – m6 – m7 1/2-W-W-W-1/2-W-W4 LYDIAN M2 – M3 – A4 – P5 – M6 – M7 W-W-W-1/2-W-W-1/25 MIXOLYDIAN M2 – M3 – P4 – P5 – M6 – m7 W-W-1/2-W-W-1/2-W6 AEOLIAN 2 M2 – m3 – P4 – P5 – m6 – m7 W-1/2-W-W-1/2-W-W7 LOCRIAN m2 – m3 – P4 – d5 – M6 – m7 1/2-W-W-1/2-W-W-W

1Scale is identical to the major scale.2Scale is identical to natural or pure minor.



Ex. 12.2 illustrates the previous chart related to the key of C major. C major and A minor are relatives asthey share the same key signature. The modes in ex. 12.2 all share the same key signature and are alsorelatives of C major. How well do you know your key signatures? Take some time to review the circle offifths remembering that each key signature represents a major key and a minor key, and it also repre-sents seven distinct related modes. The relative modes that share the key signature of no sharps and noflats are: C ionian, D dorian, E phrygian, F lydian, G mixolydian, A aeolian, and B locrian.

12.2 Modes relative to C major

& w w w w w w w w w w w w w

IonianPhrygian

Mixolydian

DorianLydian

Aeolian

The chart and staff examples likes the ones above are often the only way modes are presented in theorybooks and classes. It may be helpful at first, but can be confusing, misleading, and neglects some of themost important characteristics about modes. Many confused students think that the modes are con-structed only from the C major scale so dorian can only be D dorian. The modes can be transposed toany pitch degree as with any scale.

Ex. 12.2 illustrated modes related to a C major scale. The following does the opposite, relating all themodes to one tonic. If C is the tonic for a dorian mode it must be related to the second degree of a Bbmajor scale, so the key signature for C dorian must also be two flats. The key signature for modes with Cas tonic are clear from the illustration below: C phrygian, the third mode of the relative Ab major, is infour flats; C lydian, fourth mode of G major, one sharp; C mixolydian, fifth mode of F, one flat; aeolian,sixth mode of Eb, three flats; and locrian, the seventh of Db, five flats.

12.3 Modes shown with C as Tonic

& w w wb w w w wb w w wb wb w w wb wb w w w w w# w w w wC Dorian C LydianC Phrygian

& w w w w w w wb w w w wb w w wb wb w w wb wb w wb wb wb wC LocrianC Aeolian (“Pure” Minor)C Mixolydian

Understanding the relationships of modes to a major scale does not mean that the modes are in thatmajor key. C dorian is not in the key of Bb major; C dorian is in the key of two flats. Bb is the tonic of Bband C is the tonic of C. Remember the rules for establishing tonality: the tonic is the primary pitch andis pointed to by the dominant. To establish C as tonic, a perfect fifth is necessary, the other pitches mayvary depending on the mode. Notice that the locrian mode has a diminished fifth. Locrian is rarely, ifever, used in tonal music because it lacks the requisite perfect fifth.



MODES: BRIGHT to DARK

Modes can be identified by their relationship to a major scale (as in ex. 12.2) and by their relationshipto a single tonic pitch (ex. 12.3), but should also be classified by their distinct sound if they are to beused musically. The modes can be classified in order of brightness and darkness. The third mostimportant pitch in tonal music, the mediant, determines major or minor modality. The six modes with aperfect fifth can be grouped into three major modes and three minor modes. The major modes areshown as brighter than the minor modes. There is always one pitch that distinguishes one mode froman adjacent mode in the chart below. Intervals get brighter with size, so a major interval is brighter thana minor, an augmented brighter than a perfect, a perfect brighter than a diminished. The mediant, amajor or minor third has divided the modes into two groups. The major modes and minor modes canbe classified by using other intervals to determine the relative brightness and darkness.

Lydian mode is the brightest of the major modes due to the augmented fourth interval. The augmentedfourth is the significant identifying tone for the lydian mode. Ionian has a perfect fourth, its significantidentifying tone, making it one shade darker than lydian mode. The minor seventh of mixolydian makesit the darkest of the major modes, and distinguishes it from ionian. The first significant identifying tonein the following chart identifies the pitch that distinguishes it from the mode above it, the second thepitch distinguishes it from the mode below it. The interval between the significant tones is always a tri-tone. The last column indicates the key signature for each mode with C as tonic.

MODE NAME Relation to MajorScale

SignificantIdentifying

tones

Key signaturefor C

Lydian 4th Mode A4 1#MAJOR MODES Ionian (Major) 1st Mode P4, major 7 0#, 0b

Mixolydian 5th Mode m7, M3 1bDorian 2nd Mode m3, M6 2b

MINOR MODES Aeolian (Minor) 6th Mode m6, M2 3bPhrygian 3rd Mode m2, P5 4b

[DIMINISHED] [Locrian]* 7th Mode d5 5b*Locrian mode is named and classified, but is not used in tonal music as it is without a perfect fifth. Try playing a

melody and tonicizing the tonic of a C locrian mode. The Gb, rather than pointing to C, seems to point down to F.

That in conjunction with the C makes F sound like the tonic, and the mode sounds like F phrygian.

The lines below indicate the significant pitches that identify each mode and distinguish one mode fromthe next.

12.4

& c www# wwwn wwwb wwwb wwwb wwwb

Lydian Ionian Mixolydian Dorian Aeolian Phrygian

A chart that shows the modes relative brightness and darkness is more useful than one indicating themodes relationships to notes of a major scale. The chart lists the modes with reference to musical quali-ties. This chart will be helpful when creating modal music. If a darker mood is desired, one of the minormodes would be chosen. This chart helps aurally identify modes. One does not have to listen for sevendistinct pitches to aurally identifying a mode. Modes can usually be identified by two or three pitches.Listen first for the major or minor quality. If the mode is identified as major, that narrows the choices tothree modes. The next step is to identify the fourth or seventh degrees. If the recognizable augmented



fourth is heard, it can only be lydian mode. If the minor seventh is recognized, it can only be mixoly-dian. If the mode is determined to be minor, then listen for seconds and sixths to further narrow thechoice. A minor second can only mean phrygian. The brighter major sixth indicates dorian.

MAJOR, MINOR or MODAL?

How is music in ionian mode different from music in a major key, or music in aeolian different frommusic in a minor key? Music in the major/minor system implies functional harmony based on the ter-tian triads, and so requires the leading tone added to the minor scale changing it to harmonic minor.While there may be chords in modal music, there is no codified system of chordal progression, nofunctional harmonic relationships, and no patterns of modulation. Modal music might never modulate,beginning and ending in the same mode. While there are popular melodies whose pitches all remainwithin major scale (Joy to the World, My Romance), they are set in the major/minor system frame-work. Modal melodies have been set in the major/minor system framework with varying degrees of suc-cess. The following four examples are all in the key of D, yet none of them are in the key of D major orD minor in the European harmonic system. The melodies are in the key of D dorian, D aeolian, Dmixolydian and D lydian. The numbers indicate the important identifying pitches for each mode. Howcan we tell if ex. 12.5 is in D dorian and not C major? The tonic and dominant pitches (1 & 5) arerhythmically and structurally placed to establish D as the tonic; the minor third and major sixth identifythe mode as dorian.

12.5 The Walls of Limerick, Irish Folk Song in D Dorian mode

& C ..1

œ œ jœ œ jœ œ œ œ œ3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ

&6

œ œ œ œ œ œ œ œ œ œ Jœ œ Jœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ jœ œ Jœ

&11

œ œ œ œ œ œ œ œ Jœ œ Jœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

M6 5 1 m3

5 1



The dominant and tonic are established early in ex. 12.6 and the minor third and minor sixth identifythe mode as aeolian.

12.6 Errigal McCreigh, Irish Folk Song in D Aeolian mode

& b 431

œ œ œ œ œ œ œ œ œ 5

œ œ œ œ œ œ œ œ œ œ œ

& b5

˙ œ œ œ œ œ .œ œ œ œ œ œ œ œ œ œ œ& b

9

˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& b13

˙ œ œ œ œ œ .œ œ œ œ œ œ œ œ œ œ œ ˙

Slow 5 1 m3 m6

Ex. 12.7 has a major third and a minor seventh establishing the mixolydian mode. The tonic may be inquestion at the beginning, but the number of dominant and tonic pitches on downbeats increases as thepiece progresses. The final cadence firmly establishes the D as tonic.

12.7 The Blackird, Irish Folk Song in D Mixolydian mode

& # C1

.œ œ œ .œ œ œ .œ œ .œ œ .œ œ .œ œ .œ œ

& #4

.œ œ .œ œ .œ œ .œ œ .œ œ .œ œ œ .œ œ jœ .œ œ .œ œ œ.œ œ

& #7

.œ œ .œ œ .œ œ .œ œ .œ œ .œ œ œ .œ œ .˙

1 m7 5

M3 M3 M3

1

Pa Snei is a simple Norwegian folk song in lydian mode. The key signature is not for the key of A majoror F# minor, but accurately reflects D lydian. Sing or play the melody and it is clear that D is the tonicpitch. The major quality is revealed by the second note (F#) and the G# reveals the lydian quality by thethird note. The 1-5-1 at the end of m.2 confirms D is the tonic. It is interesting that this very brightmelody is from a place called land the Land of the Midnight Sun.



12.8 Pa Snei, Norwegian Folk Song in D Lydian mode

& ### c œ œ œ .œjœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ Œ

& ## # œ œ œ .œ jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

5 M3 A41 5

1 M3 1

MODAL MELODIC EXAMPLES

Copyright restrictions prevent the use of modal examples from contemporary Jazz composers. The fol-lowing excerpts were composed for the book or drawn from existing original compositions and areshown here to illustrate melodies using different modes. In order to accurately communicate a mode,the tonic must be established, the mediant must identify the piece as major or minor, and the otheridentifying tones must be present to distinguish which minor or major mode is present. If ambiguity isyour goal, and it may be, then the identifying tones must be avoided. The placement of the tritone in-terval in relation to the tonic is what identifies the mode. This does not mean that a melody should be-gin or even include the interval of a tritone, just that the placement of those tones in relation to thetonic is what distinguishes one mode from the others.

G is immediately established as the tonic by the dominant to tonic movement. Lydian mode is con-firmed by the C#, a tritone away from the tonic. Sometimes this C# can be a leading tone to D, not nec-essarily confirming a lydian mode. In this case, the C# moves down the scale, not functioning as a lead-ing to D, but as the fourth scale degree of lydian mode.

12.9 G Lydian melody: Jazz Waltz

&

?

##

# #

43

43œ œ. ‰ Jœ

...˙˙

˙ 3œ œ œ...˙˙

.œ jœ ‰ Jœ

...˙˙

.œ .œ

...˙˙

&

?

##

# #

‰ œ. œ.Jœ

...˙˙

œ œ. ‰ Jœ

...˙˙

.˙...˙˙

˙ Œ...˙˙

Bb mixolydian must have a major third and minor seventh to distinguish it from ionian and dorian. Inthe melody shown in ex. 12.10, the Ab anticipates m.2 and the Dn occurs on the downbeat of m.3. Tonicis confirmed by the dominant to tonic motion at the beginning of the first and third phrases and the fi-nal two pitches. This melody is clearly in the key of Bb mixolydian and not the key of Eb major.



12.10 Bb Mixolydian melody: Fast Swing

&

?

bb b

b b b

c

c

œ œ Œ Œ ‰ jœ

œœ. ‰ Jœœ ˙

œ œ œ œ œ œ œww

œ œ œ œ Ó

Ó ‰ jœœ Œ

∑

˙ ..œœ Jœœ

&

?

bb b

b b b

Œ œ œ ‰ Jœ œ œ

..˙ ‰ Jœœ


..˙ ‰ Jœœ

œ œ œ œ œ œ œ˙ ..œœ

jœœ

.œ jœ Ó

..œœ Jœœ Ó

Parts of this melody are voiced for four instruments, but the melody on the top reveals the dorian qual-ity. The major sixth (Dn) and the minor third (Ab) rule out all other modes but dorian.

12.11 F Dorian melody: Medium Swing

&

?

bb b

b b b

c

c

Ó Œ œ.

∑

œœœœ. œœœœ œœœœ œœœœ œœœœ

.

œœ.‰ jœœ ˙

....œœœœjœœœœ œœœœ œ œ

ww

œ-œ œ œ.œ œ

˙ œœ.‰ jœœ

˙ Œ œ.

..˙ Œ

&

?

bb b

b b b

œœœœ. œœœœ œœœœ œœœœ œœœœ

.

œœ.‰ jœœ ˙

....œœœœjœœœœ œœœœ œ œ

ww

œ-œ œ œ œ œ œ

˙ œœ.‰ jœœ

.˙ Œ

..˙ Œ



F# aeolian must, in addition to a minor third, have a minor sixth (Dn) to distinguish it from F# dorian,and a major second (G#) to distinguish it from F# phrygian. The minor quality is established in the firstmeasure of ex. 12.12, and the two modal identification tones occur in m.2.

12.12 F# Aeolian melody: Jazz Waltz

&

?

###

# # #43

43.œjœ ‰ jœ

.œ..œœ

œ .œ jœ..˙

.œjœ ‰ jœ

.œ..œœ

.œ jœ œ œ˙ œ

&

?

## #

# # #œ .œ Jœ

˙œœ

œ œ œ˙ œ

.˙˙

œ

˙ Œ

˙˙ Œ

This is the modal A section from a piece called Morocco. The B section ventures away from the Cphrygian through remote harmonic passages and returns to the modal A section. The lowered second(Db) and the perfect fifth (G) are the two pitches that distinguish phrygian from the brighter aeolian andthe darker locrian mode.

12.13 C Phrygian melody: Morocco, jazz samba

&

?

bb b b

b b b b

Ó Œ ‰ jœ∑

œ œ œ œ œ œœ œ

.œjœ ˙

œ œ œ œ ‰ jœ œœœœ

.œjœ ˙

˙˙˙˙ œ œ ‰jœ

.œjœ ˙

....˙˙˙˙ Œ

.œjœ ˙

&

?

bb b b

b b b b

Œ ‰ jœ œ. œ œ

.œjœ ˙

œ œ œ œ œ œ œœœœ

.œjœ ˙

wwww‰ jœ‰ jœ œ œ œ œ

....˙˙˙ œœœœ.

.œ jœ œ œ.



The modes were identifiable in the previous melodic examples. All necessary notes were included in themelodies. However, ambiguity may be desirable. Melodies do not have to have clearly defined modes;but modes in order to be clearly defined must have their identifying pitches. If a certain ambiguity isdesired regarding the modes, then the identifying pitches must be avoided.

This mode could be dorian or mixolydian, but the missing mediant makes positive identification im-possible. The melody may still be interesting. Which third do you imagine?

12.14 C dorian or C mixolydian?

& c ‰ .œ œ œ œ œ œ œ œb Œ ‰jœ œ œ œ œ œ œb œ ∑

From which of the three minor modes is this melody constructed? Phrygian can be ruled out as there isa major second degree. Since there is no sixth, it could be dorian or aeolian.

12.15 C dorian or C aeolian?

& œb œ œ œ œ œ ‰jœ œ œ œb Ó ‰ jœb œ œ œ œ œ œ ∑

There are many examples of melodies that do not contain all of the notes of a scale or mode.Pentatonic scales usually omit the tritone so the mode of a pentatonic melody cannot be absolutelyidentified. A major pentatonic scale consists of the scale steps 1-2-3-5-6. The fourth and seventh, thenotes which distinguish lydian, ionian and mixolydian are missing. A minor pentatonic scale consists ofthe scale steps 1-b3-4-5-b7. The second and sixth, the notes which distinguish dorian, aeolian and phry-gian are missing.

12.16 C major pentatonic C minor pentatonic

& w w w ¿ w w ¿ w w ¿ wb w w ¿ wb w# or n n or b n or b n or b

Melodies may be constructed with omitted thirds. Here are examples of modal melodies that do notcontain a third from completely different cultures. The tonic of ex. 12.17 is D; the tonic of 12.18 is A.

12.17 Japanese National Anthem: Kimi Ga Yo

& c1

œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙

&7

œ œ œ œ .œ jœ ˙ œ œ ˙ œ œ œ œ œ œ œ ˙



12.18 Barrick Hill: Irish melody

& # 861

œ jœ œ œ œ œ Jœ .œ œ jœ œ œ œ œ jœ .œ

& #5

œ jœ œ œ œ œ Jœ .œ œ JœœJœ .œ .œ

& #9

œ Jœ œ œœ œ Jœ œ œ œ œ Jœ

œJœ œ Jœ

.œ

& #13

œ Jœ œ œœ œ Jœ œ œ œ œ Jœ

œJœ .œ .œ

Chromatic embellishment is possible in modal music as with any tonal music. The tones that identify aparticular mode must be clear and distinguishable from the chromatic embellishment. The first measurein ex. 12.19 identifies the passage as D dorian, with the minor third and the major sixth. The D# in thesecond measure will not be mistaken for an Eb, which would indicate a phrygian mode, but will be heardas a leading tone to the En. The Gb will not be heard as a major third (F#) indicating a major mode, butwill be heard as a chromatic passing tone between the G and F. The G# will be heard as a passing tonebetween the G and A.

12.19

& c œ œ œ œ œ œ œ .˙ ‰ jœ# œ œ œb œ œn œ# œ .˙ Œ

WHEN is it MODAL & WHEN is it FUNCTIONAL HARMONY?

A piece that begins with the progression Dm7 - G7 - C is in the key of no sharps and flats. It cannot be Ddorian as C is the tonic indicated by the traditional harmonic progression. It is terribly misleadingwhen the Dm7 is labeled as dorian. D dorian indicates D is the tonic and D would never sound like thetonic in this setting. The proof is in the hearing, but it might be helpful to think of the mathematics.Tonic is 1 and supertonic is 2; and 2 cannot be 1. The tonic is the primary pitch; there cannot be twoprimary pitches. Labeling the passage as D dorian, G mixolydian followed by C ionian produces moreconfusion. Does anyone hear this passage with three different tonics? C is the tonic, and clearly the pas-sage reflects the major/minor system with the functional ii7 - V7 - I progression. Using the same logic, itwould be misleading to suggest that a modal piece in D dorian is really in the key of C, with just the ii7chord sounding. However, in contemporary compositions that have mixtures of modal and functionalharmony, it is helpful to describe certain chords and sounds by their modal names so that an Fmaj7(IV) may be described as a lydian sound to distinguish it from a major scale sound (I).



MODAL TUNES in JAZZ PRACTICE

Experiments with modal music in jazz composition often combine modal techniques with conceptsfrom the major/minor system. Modal compositions may be constructed on a single mode similar to anold folk song. A modal composition may move from one mode to another mode sometimes planing(moving symmetrically to a different tonal plane) up or down by certain intervals, as the B section ofSo What planes up a half-step to Eb dorian. Modal passages may be linked to passages using functionalharmonic progressions. The traditional Greek modes may be mixed with modes from other scales(melodic minor, major b6), other exotic modes, and mixed with passages of colorful, but non-functionalharmony. Modal jazz forms often echo the forms of standard songs, like the AABA form for So What,Maiden Voyage and other classic jazz modal tunes. Look for a wide variety of modal influenced compo-sitions from Herbie Hancock, Chick Corea, Joe Henderson, Wayne Shorter, Miles Davis, John Coltraneand others.

CHORD SYMBOLS & MODES

Chord symbols in modal piece often are carried over from traditional settings. Sometimes the chordsymbol alone is ambiguous in the identification the mode. A Cm7 could be dorian, aeolian or phrygian.The melody may reveal the necessary pitches which identify the specific mode. A Cm9 symbol elimi-nates phrygian as a possibility but leaves it to the melody to supply an Ab or An indicating aeolian ordorian. Cm9b6 clearly verifies aeolian; and Cm6, indicating an An over the Cm, could only be dorian.Chord symbols that indicate C mixolydian include: Gm7/C, Bb/C, Bbmaj7, C7sus. Cmaj7 could be lydianor ionian, and Cmaj7#11 could only be lydian. C Phrygian is often indicated by Gø7/C, Bbm/C, Db/C,and C7susb9. In many situations, passages will be labeled by the tonic or root and the mode name as in“C dorian,” “C lydian,” or “C mixolydian.”

Copyright laws restrict the use of copyrighted material for even brief examples, but chord progressionsand standard forms cannot be copyrighted. The few forms and chord progressions that will be discussedare from very common jazz compositions. It will be easy to find written copies for further independentstudy.

TUNES with MODAL & FUNCTIONAL HARMONY COMBINATIONS

The form below illustrates the blending of modal and functional harmony. It begins as a dorian piecewith A as the tonic. The chord symbol does not reveal the requisite F# that identifies the mode as do-rian. It can be found in the melody of the piece from which this form is borrowed. The dorian mode isplaned up a minor third to C dorian. At the end of the phrase, the Cm7 becomes the ii7 chord in Bbmajor leading to the V7, F7. The second half of the piece sequences ii7 - V7 - I in descending steps end-ing with the cadence F - E7, a VI - V7 in the key of A minor. The key of A minor would indicate an Fn, butwhen the melody enters again at m.1, the F# brings it back to dorian mode.

12.20 Modal Passages & Functional Harmony

Am7 ‘ ‘ ‘ Cm7 ‘ ‘ Cm7 - F7

A dorian ‘ ‘ ‘ C dorian ‘ ‘ ii7 - V7Bb

Bbmaj7 Bbm7- Eb7 Abmaj7 Abm7- Db7 Gbmaj7 Gm7- C7 Fmaj7 E7

IBb ii7 - V7

Ab IAb ii7 - V7

Gb IGb ii7 - V7

FIF

V7A minor



TUNES with MODAL MIXTURE

Jazz improvisers may use modes over a pedal tone in three different ways. A single mode can be usedover the whole form; a structured predetermined series of modes can used; or an unstructured set ofmodes may be employed at the discretion of the improvisers. The form below illustrates the use of astructured set of modes over a form. The F remains the tonic but the color of the piece changes with themodes. Note the use of locrian in m.5. I have only encountered two instances of locrian working in atonal setting and this one, from a piece called Moss, is one of them. In this instance, the locrian modeis surrounded by tonal modes (modes with perfect fifths), so the perception remains that F is tonic.

12.21 Modes over a Pedal F

F Mixolydian ‘ F Aeolian ‘ F Locrian ‘ F Ionian ‘2b 4b 6b 1b

F Dorian ‘ F Phrygian ‘ F Aeolian Eb Mixolydian F Aeolian DbMixolydian

3b 5b 4b 4b 4b 6bMODAL PLANING

The following progression had its beginning as background music in a television commercial for amen’s cologne before becoming a jazz classic. The form is AABA. The A sections use a D mixolydianmode than planes up a minor third to an F mixolydian mode. The B section looks like it could be justlike the A section transposed up a half-step. It begins that way with the Eb mixolydian, but instead ofmoving up to the F# mixolydian, it moves down to a C# dorian. The C# dorian and the F# mixolydianshare the same key signature (5#), so the notes are the same, but the dorian sound is the result of thebass playing a C# rather than an F#.

12.22 Modal Planing

Am7/D ‘ ‘ ‘ Cm7/F ‘ ‘ ‘Am7/D ‘ ‘ ‘ Cm7/F ‘ ‘ ‘Bbm7/Eb ‘ ‘ ‘ C#m13 ‘ ‘ ‘Am7/D ‘ ‘ ‘ Cm7/F ‘ ‘ ‘

MODAL PROGRESSIONS

Modal progression sounds like an oxymoron since the nature of most modal music is the absence ofharmonic progression. Modal progression indicates a series of different modes. Interesting and expres-sive music can be created using the modes as a palette of colors to shape construct dramatic contoursfor a composition This is a departure from the ancient concept of modal melodies. The six ancientmodes offer a range from very bright (lydian) to very dark (phrygian). Combining modes can tell astory. For an example, imagine a sixteen measure form, where each four measure phrase uses a differentmode. Each different mode shades the story line. If the story begins with relative calm, then dorian ormixolydian would be appropriate choices for the first phrase. The kingdom is happy, crops and chil-

dren are healthy and growing. If the second phrase shifts to a darker mode like aeolian, then some-thing has changed the stability of the story. An invading army of giants has been spotted coming to-

ward the kingdom. A switch to phrygian signals a very dramatic downturn. Yes, they have entered the



kingdom and kidnapped the princess-to-be. A battle ensues between the knights and the giants. Thefinal phrase shifts to lydian which indicates the maiden has been saved, marries the prince who savedher, and they live happily-ever-after in infinite bliss signified by the raised fourth degree of the lydianmode. Music does not ever have to follow a concrete or ridiculous story line, but it is useful here fordemonstration.

A composition form or improvisational framework can be created using the concepts of mixing modesinto a type of modal progression. The progression below begins with G dorian mode (key of 1b). Dorianis a dark mode because of the minor third, but the brightest of the minor modes because of the majorsixth. Adding one flat will change the G dorian to G aeolian, the minor sixth making the second phrasea darker setting.

12.23

G Dorian ‘ ‘ ‘ G Aeolian ‘ ‘ ‘1b 2b

darker

It reasons that if another flat is added it will be darker still. If G is kept as tonic, it will be darker, chang-ing the mode to G phrygian. The momentum may be lost by staying with tonic G for too long.

12.24

G Aeolian ‘ ‘ ‘ G Phrygian ‘ ‘ ‘2b 3b

dark darker

Will the third flat make it darker if the tonic is changed from G to another pitch? If the mode changes toBb mixolydian, the effect is brighter. Mixolydian is brighter than aeolian, and that takes precedence overthe effect of the key signature.

12.25

G Aeolian ‘ ‘ ‘ BbMixolydian

‘ ‘ ‘2b 3b

dark brighter

This progression could be extended to create the sixteen measure form below. The D phrygian is darkerthan the Bb mixolydian even though the third flat has been removed. It ends with the very bright lydianmode. The form uses five different modes, but only three different key signatures. G aeolian and D phry-gian share the key signature of two flats and yet have a completely different character. The same is truefor Bb mixolydian and Ab lydian which share the key signature of three flats.

12.26 Modal Form: Progression of ModesG Dorian ‘ ‘ ‘ G Aeolian ‘ ‘ ‘

1b 2bmedium

dark/brightdarker

BbMixolydian

‘ ‘ ‘ DPhrygian

‘ Ab Lydian ‘3b 2b 3b

brighter Darker VeryBright



This form could be used in any number of ways. The duration for each mode could be doubled tocreate a thirty-two measure form. The progression could be played with any kind of feel: swing, ballad,bossa, jazz waltz.

This is a possible composition using a similar form. The melody clearly indicates the modes by usingthe identifying pitches. En and Bb clarify the dorian mode in the first phrase. The melodic motive isrhythmically displaced and transposed to reveal the Eb which signals the change to aeolian.

12.27 Medium Swing

& b c1

œ œ œ œ œœœ. œ œœœ

G Dorian

www œœœ ‰ Jœ œœœ.œ œœœ ...œœœ j

œœœÓ

& b b5

Ó œ œ œ œG Aeolian

œœœ-œ œœœ ‰

jœ ‰ jœœœ www∑

The third phrase begins with the added flat, Ab, indicating the shift to Bb mixolydian. The An indicatesthe mode change to Eb Lydian. D phrygian is implied by the context as it follows Eb lydian. Since an Enhas not sounded, nothing contradicts the Eb and so it lingers in the ear. Phrygian is confirmed by thechord on the upbeat of two which contains the Eb.

12.28

& bb b9

Œ œ œ œ œ œ œBb Mixolydian

œœœ.œ œ œ œ œ œœœ

.œ œœœ ‰

jœ œœœœ ˙Œ œ œ

& b b13

...œœœnjœœœ ˙˙

Eb Lydian

œœœ ‰ jœ œ œ œ œ.œ jœœœœ ˙˙

D Phrygian

....˙˙ Œ

Endless modal forms are possible. Ex. 12.29 is another form that contrast dark with bright. The A aeolianis a moderately dark minor mode. Keeping the same key signature and changing the tonic to C changesthe context to C lydian, a very bright mode. An extreme change occurs when the brightest modechanges to the darkest mode at the G phrygian. The form ends changing to another lydian mode.

12.29E Aeolian ‘ ‘ ‘ C Lydian ‘ ‘ ‘

1# 1#dark very bright

G Phrygian ‘ ‘ ‘ F Lydian ‘ ‘3b 0# - 0b

very dark very bright



The form from ex. 12.29 could be treated with an even eighth note feel as shown below in ex. 12.30. TheF# in m.1, the major second, identifies this passage as either aeolian or dorian and not phrygian. The Cnin m.2 verifies aeolian mode. The third phrase suggests motives from the first phrase. The F# now identi-fies the mode as C lydian.

12.30 Even eighth notes

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#

#

..

..˙ ‰ jœ œ œ

E Aeolian

.œjœ .œ jœ

˙ ‰ jœ œ œ

.œjœ œ œ œ


.œjœ .œ jœ

‰ jœ .˙

.œjœ œ œ œ

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#

#

Ó ‰ jœ œ œC Lydian

.œ Jœ .œ jœ

œ œ œ‰ jœ œ

.œ Jœ œ œ œ

w.œ Jœ .œ jœ


.œ Jœ œ œ œ

The Eb in the first measure below immediately rules out G dorian and the Ab verifies this passage is in Gphrygian mode. The last phrase echoes motives from the first and the prominent placement of Bn estab-lishes the mode as F lydian.

12.31 Even eight note continued

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bb b

b b b

.œ Jœ œ œG Phrygian

œ ‰ jœ œ œ œ

œ œ œ ˙

.˙ œ œ


œ ‰ jœ œ œ œ

œ œ œ œ œ œ œn

œ ˙ œ œ

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nn n

n n n

..

..

wF Lydian

.œjœ .œ Jœ

‰ Jœ œ œ œ œ œ.œ jœ œ œ œ

‰ jœ .˙

.œjœ œ œ œ

.˙U

œ( œ ).œ jœ œ œ

Playing in modal settings influenced the way jazz artists composed new material and affected their ap-proach on tunes with traditional harmonic structures. Separate chords in common progressions weresometimes viewed as having individual scales. This may in part led to the practice of imposing other



modes and scales over the existing basic harmonies of traditional progressions. (These other scales willbe discussed in chapter 14.) Other longer harmonic passages in traditional tunes were reduced andtrimmed down to resemble modal sections.

MOTIVIC DEVELOPMENT

In a traditional harmonic settings, improvisations were found to be based on the theme or paraphrasingthe melody, based on the harmony, sometimes in a general way and other times many specific ways.What is the foundation for an improvisation in a modal setting? There are no guide tones to suggestmotion from one functional chord to the next. There are tones which identify the specific modes. Canrunning up and down the appropriate scales be the improvisational basis? It often is the foundation formany beginning students. Another approach to compositional structure in improvisation is through theuse of motivic development.

A motive (or motif) is a short musical idea or theme for development and may be newly invented orderived from the written melodic material. A motive is not separated from a rhythmic context, and of-ten the rhythmic context is as important or more important than the pitch structure of the theme ormotive. Motivic development is certainly not limited to modal settings. Many significant musical workshave been created using motivic development. The absence of harmonic structure as a mechanism forpropelling music makes motivic development a particularly helpful tool for developing ideas in modalsettings .

There are several devices for developing a motive once it has been stated. The first and most importantdevice is repetition: the motive must recur or it is not a motive. It is often repeated soon after its initialstatement so as to familiarize the listener (and the improviser) with the material to be developed. Manyof the devices which are listed below may be combined with other devices; they do not have to be in-dependently applied to a musical idea. What follows is a list and an example of each device applied to amusical idea.

Compositional Devices for Motivic Development

Repetition: The theme must recur for it to be a theme.Sequencing: Transposing to other pitch levels in a repeating series.Fragmentation: Using a smaller portion of the initial idea.Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The new

material can occur before, after, or in the middle of the original motive which is usually intact andrecognizable.

Embellish or ornament: This differs from the addition of notes before or after as it involves theelaboration of the original note using neighbor tones while still following the general contour of theoriginal idea.

Augmentation: To augment is to make something larger. Musically this can apply to the rhythmicunits, the intervals and even the orchestration.

Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervals andthe orchestration.

Inversion: The intervals of the original idea can be turned upside down. They can be inverted usingexact intervals or generally, following the diatonic intervals.

Retrograde: The motive is played with the pitches in reverse order. This is not perceived by the casualobserver but is a useful develomental device.

Retrograde inversion: the original can occur upside down and backwards. This is also not always rec-ognizable to the casual observer.

Displacement: May be applied to rhythms or pitches. Pitches may be displaced by moving them up ordown an octave. A motive may be rhythmically displaced to a different part of the phrase earlier orlater than might be expected



Mode Change: The motive might be set in other modes.Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches.

All devices may be combined. For example, the retrograde inversion can be sequenced in augmentedform with octave and rhythmic displacement.

Repetition: A motive (bracketed) is repeated with rhythmic displacement:

12.32

& c œ œ œ œ ˙ Ó œ œ œ œSequence: The motive is sequenced by transposing to other pitch levels using diatonic intervals. Theoriginal intervals of the motive are followed generally not specifically. The original motive moves up amajor second—down a major third—down a minor third (↑M2—↓M3—↓m3). The second occurrenceof the motive is an exact transposition up major second; all intervals within the motive match exactlyand are within the D dorian mode. The third occurrence moves the motive up and sacrifices the exactintervals for diatonic intervals, moving ↑m2—↓m3—↓M3.

Diatonic Sequence

12.33

& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œChromatic Sequence: Here the motive is repeated in series exactly following the intervallic structureof the originals motive. Doing so introduces several notes outside of D dorian which may or may not bethe desired result.

12.34

& c œ œ œ œ œ œ œb œ œb œ œb œ œ œ œb œb œ œ œ œ Ó

Fragmentation: The original motive is stated in m.1, then only the first two notes and then the firstthree. There is a brilliant example of reducing the theme in Beethoven’s firth symphony in the firstmovement. At one point he reduces the second theme to two notes and then to one note, and these sin-gle notes are heard as fragments of the original.



12.35

& c œ œ œ œ ˙ Œ œ œ Ó ‰ jœ œ œ

Augmentation and Diminution of the intervals: Each interval of the original motive (↑M2—↓M3—↓m3) is augmented to become ↑m3—↓P4—↓P4 in the first measure and the intervals reduce to become↑m2—↓M2—↓M2 in the second.

12.36

& c œ œ œ œ ˙ œ# œ œn œ ˙

Augmentation and Diminution of the rhythmic values: The original values have been expandedfreely in m.1 and diminished exactly in half in m.2.

12.37

& c ˙ œ.œ œ .˙ Œ Ó œ œ œ œ Œ

Addition: The original motive is still intact in the example below, but opening and closing notes havebeen added to make it a longer phrase.

12.38

& c Ó ‰ jœ œ œ œ œ œ œ œ œ œ œAddition or Interpolation: Two notes of the original motive occur followed by newly added materialbefore the last two notes of the original occur.

12.39

& c œ œ Œ œ œ œ .˙ œ œElaborating or Embellishing: The original theme is stated with an augmented rhythm in the firstbracket. The second statement is embellished by the leading tone (G#) to A, the lower and upper neigh-bors (E & G) to F, and the lower and upper neighbors (C# & E) to D. Three of original pitches (G, F &D) occur at exactly the same rhythmic spots and the A is displaced by an eighth note.



12.40

& c Ó Œ œ ˙ .œ jœ Ó Œ œ œ# œ œ œn œ œ# œ œOctave Displacement: The last two pitches of the original motive have been transposed up an octave.The character of a motive can be drastically changed by octave displacement as the overall contourchanges. There is an excellent example of extreme octave displacement of a very familiar melody inStravinsky’s Greeting Prelude. Listen to how octave displacement makes it difficult for many to recognizea tune that everyone knows.

12.41

& c œ œ œ œ Ó

Rhythmic Displacement: This is a typical jazz syncopation where the motive occurs every three beatswith a meter of four.

12.42

& c œ œ œ œ Œ œ œ œ œ Œ œ œ œ œSome very mathematical and seemingly contrived devices can and do occur naturally in improvisedmusic. A motive can recur in inversion with its intervals reversed or backwards, in retrograde with itsintervals sounding in reverse or upside down, and in retrograde inversion with the intervals upside downand backwards.

12.43Original Inversion Retrograde Retrograde Inversion

& w w w w w w w w w w w w w w w wA palindrome is a word, sentence or numerical sequence that is the same forwards and backwards. Thewords civic, deified, radar, and rotator are palindromes. The phrases “Madam, I’m Adam,” and “PoorDan is in a droop,” are palindromes. Even the general framework for Amazing Grace is a palindrome.Musical palindromes are possible when the original and the retrograde are placed next to each other.The motive moves forward and then retraces its steps back to the first note.



12.44Retrograde + Original Original + Retrograde

& c œ œ œ œ œ œ œ œ ˙ Ó œ œ œ œ œ œ œ œ ˙ Ó

Iteration: The rhythmic character of a line can be enhanced by repeated notes. The motive’s melodicvalue in the second measure is quarter notes, but the iteration of each note yields an eighth note subdi-vision.

12.45

& c Œ œ œ œ œ Œ œ œ œ œ œ œ œ œ

MOTIVIC DEVELOPMENT in MODAL IMPROVISATION

The two chorus improvisation by Miles Davis over the modal tune So What from the Kind of Blue

recording offers an opportunity to examine the application of some compositional devices in the con-text of a modal piece. This solo is shown and analyzed in chapter 18.


• With a partner, play melodic modal fragments and identify the correct mode. (1)listen for the major or minor quality. (2) determine if the mode is bright or dark.(3) listen for the important identifying pitches.

• Invent some unaccompanied, simple modal melodic phrases. Establish the tonicand incorporate the necessary identification tones within the melody.

• Try inventing a form for improvisation or composition with an emotional curvedictated by a progression of modes. Try shifting the tonal centers and varying thecolor of the modes from bright to dark.

• Try improvising and composing over the newly created forms using differentrhythmic settings. How do the rhythmic settings change the melodic approaches?

• Try developing simple motives while improvising on the newly created forms ratherthan endless scale motion. Can you play a short motive, stop and listen and de-velop it using the devices listed in this chapter?

• Learn and improvise over common jazz modal pieces. Listen and study the forms orthe pieces. Is it constructed of more than one mode? How where the modes put to-gether? Does the melody clearly identify the mode or is it ambiguous? Are themodes labeled or implied by the key signature, chord symbol or melodic content?Listen to recordings and evaluate the melodic approaches used by the performers.What techniques of melodic development did they use?

• Transcribe improvisations over modal frameworks. What approaches did the artistuse to develop the improvisation? Were the modes clearly defined? Was therechromatic embellishment or strict adherence to the diatonic modes? Were thereechoes of bebop or other vocabulary in the improvisation? What kinds of ideas canyou take from this improvisation to add to your playing?

Chapter 13 Quartal Harmony 323


XIII. QUARTAL HARMONY

Many music dictionaries define triads as three note chords constructed of consecutive intervals ofthirds. This definition reveals a nineteenth century bias when most of the European art music was basedon chords built in thirds. Triad really means a group of three. Applied to chords, a distinction must bemade as to the intervals from which the triads are constructed. A triad built with thirds is a tertian triad;a triad built with fourths would be a quartal triad. Jazz and non-jazz composers in the twentieth centuryhave experimented with chord structures based on intervals other than thirds. Many jazz musicians aredrawn to the open ambiguous qualities of chords constructed in fourths.

Quartal chords may be extended beyond the triad just as can tertian chords. The quartal triad or ex-tended quartal structures are not labeled with any conventional shorthand chord notation. Quartalchords are primarily constructed of perfect fourths, but may include other intervals such as an aug-mented fourth and a major third as part of its extended structure. Ex. 13.1 shows several quartal chordsavailable from the key of no sharps or flats based using only perfect fourth intervals.

13.1 Quartal structures using only perfect fourths

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The most familiar quartal voicing in jazz literature is from So What, from the Kind of Blue recording.These voicings (ex. 13.2) are often referred to as the “So What” voicings. They are primarily constructedwith perfect fourths with a major third on the top: (from bottom to top) P4 - P4 - P4 - M3. Each chord inex. 13.2 is constructed using all the notes of a pentatonic scale.

13.2 “So what” chords

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Diatonic triads in a major scale are constructed using every other tone from the scale (1-3-5, 2-4-6, 3-5-7,etc.) which creates all tertian triads. Diatonic triads of a pentatonic scale can be created by skipping atone in that scale. All of these diatonic triads contain at least one interval of a perfect fourth. Diatonicchords from a D minor pentatonic are shown below in ex. 13.3. The first, third and fourth chords areconstructed using just perfect fourths. The second diatonic chord is a first inversion D minor triad, and

324 Chapter 13 Quartal Harmony


the fifth is the second inversion of an F major triad. The two inverted tertian triads show why this scaleis called D minor or F major pentatonic. The quartal character of these diatonic chords illustrates thelink between quartal sounds pentatonic scales.

13.3 Diatonic triads of D minor or F major pentatonic

P4 – P4 M3 – P4 P4 – P4 P4 – P4 P4 – M3

& w ¿ w ¿ w w ¿ w ¿ w w ¿ w ¿w w ¿ w ¿ w w ¿ w ¿ w

The quartal chords can be extended to include all five notes of the pentatonic scale. Four of the fivechords below have at least one interval of a major third. Only the fourth chord, built on A, is con-structed of all perfect fourth intervals. The first chord is the original “so what” chord, the others are in-versions.

13.4 Extended quartal chords from D minor or F major pentatonic

P4-P4-P4-M3 M3-P4-P4-P4 P4-P4-M3-P4 P4-P4-P4-P4 P4-M3-P4-P4

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The “so what” chord can be used in other contexts. The chord below is shown with four different bassnotes. The first chord over the A in the bass creates an Am7 or A minor pentatonic sound. The samenotes over an F in the bass creates an Fmaj7 with a ninth and thirteenth. Over D, it creates an ambigu-ous suspended chord; it could either be a D suspended dominant or a D minor ninth chord with a miss-ing third. A bright lydian sound is suggested with Bb in the bass.

13.5 Extended quartal chords from D minor or F major pentatonic

Am7 Fmaj9 D7sus or Dm9 Bbmaj7#11

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Quartal chords can be extracted from any mode or scale. All seven diatonic five note quartal chords areshown below in ex. 13.6 derived from the aeolian mode in A. Fn and Bn are the two tones that distinguishA aeolian from A dorian and A phrygian. The tritone, an augmented fourth, between those two pitches isthe only interval of a fourth in this mode that is not the interval of a perfect fourth. Every chord below



that contains Fn and Bn will include the augmented fourth mixed with intervals of a perfect fourth. Thechords marked with an “↓” are constructed exclusively using intervals of a perfect fourth.

13.6 Five note quartal chords from A aeolian

↓ ↓ ↓

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Quartal chords move nicely in parallel motion. Passages similar to the one in ex. 13.7 are prevalent injazz performances and compositions and are often used to establish the rhythmic setting. Only thenotes of a C minor pentatonic are used in the first two measures. The quartal chord (1) verifies Cm7with the Bb and Eb. Chord (2) would be ambiguous without the context of the chord (1). Chord (3) con-tains notes not found in C minor, but acts as an upper neighbor chord, slipping back down to chord (2)and then to (1) in the last measure.

13.7 Quartal triads in parallel motion

(1) (2) (3) (2) (1)

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wwThe individual pitches of a quartal triad, like a tertian triad, may be inverted. The three chords belowcontain the pitches D, G, and C. The first chord, with D on the bottom is a quartal triad using only per-fect fourths. With G on the bottom, the original chord is inverted and the construction is P4 - M2. WithC on the bottom the second inversion is constructed M2 - P4.

13.8 Quartal triad and inversions

& www www wwwThe inversions of quartal triads have a different characteristic sound since they include the interval of asecond. The inversions may work in a setting by themselves or can be mixed with quartal chords in rootposition as in ex. 13.9.



13.9 Inversions of quartal triads used over pedal A

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˙ œœœ. ‰ jœœœ

˙ œœ.‰ jœœ

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˙˙˙ Ó

˙ ÓQuartal triads, their inversions and other tertian chords and their inversions may be mixed. The passagein ex. 13.10 over a G pedal, begins with a quartal triad in first inversion and chromatically moves to atertian triad in second inversion. The chord at the end of the first line is a quartal chord in root posi-tion but the upper interval is an augmented fourth. The last four chords in the passage are quartal triadsin root position constructed with perfect fourths. Common to all the voicings below is the interval of aperfect fourth as the lower interval.

13.10 Mixture of quartal & tertian triads with inversions over G pedal

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...œœœbjœœœ# ˙

ww

...œœœjœœœbbb ˙

‰ jœœ Œ ˙

˙˙ œœœ# ‰ jœœœbbww

&

?

˙ ˙

‰ jœœ Œ ˙

˙ œœœb.‰ jœœœ

˙ œœ.‰ jœœ

wwwww

wwwww

The diatonic chords of a pentatonic scale may be inverted. Two of the triads are tertian inversions tobegin with, and one of their inversions will be a root position tertian chord.

13.11 Diatonic chords from A minor & C major pentatonic

m M m M m M

& www www www www www www www www www www www www www www www



These pentatonic quartal triads may be used over different bass notes as voicings creating a variety ofchords. The C major or A minor pentatonic chords suggest Am7 over an A in the bass. The Am7 couldbe a ii7 in G, iii7 in F, vi7 in C, or A aeolian. Over the F bass, the chords become an Fma7 as I or IV.With D in the bass, they are useful for an ambiguous Dm7, with the absence of any third. A Bb in thebass suggests Bb lydian or Bbma7 as a IV chord.

13.11 Diatonic chords of A minor/C major pentatonic over other Bass Notes

&

?

wwwAm7

ww

wwwww

wwwww

wwwww

www

ww

wwwFmaj7

ww

wwwww

www

ww

www

ww

www

ww

wwwDm7

ww

wwwww

wwwww

wwwww

wwwww

wwwBbmaj7

#11

wwb

wwwwwb

wwwwwb

wwwwwb

www

wwbIndividual pitches of the “so what” chord may be altered to create completely different sounds. Theoriginal “so what” voicings are shown for Gm7 in the first measure in ex. 13.12. In the remaining mea-sures, the An has been lowered to Ab, creating an augmented fourth interval on the bottom of the chord.This altered “so what” chord pair works well for the E7 alt. and its tritone substitute Bb9#11, and for theFmmaj7.

13.12 “So what” chords with alterations

&

?

wwwbGm7

www

wwwww

wwwbww

wwwbBb9#11

wwwb

wwwwwb

wwwbE7b13

#9

www

wwwwwb

wwwFmmaj7

wwwb

This ending to an original composition, Scandal in Bohemia, uses parallel diatonic quartal chords.

13.13 Bert Ligon: Ending to Scandal in Bohemia

&

?

43

43

Œ œœœ.œœœ.

..˙

...œœœjœœœ Œ

˙ ‰ jœ

Œ œœœ.œœœ.

..˙

...œœœjœœœ Œ

˙ ‰ jœ

Œ œœœ.œœœ.

..˙

...œœœ...œœœ

˙ ‰ jœ

...œœœ ...œœœ

..˙

œœœ. œœœ.Œ

œœbb.œœ. Œ

Guitarist Steve Mazokowski used combinations of quartal and tertian inversions in these two excerptsfrom his composition What It Was. The passage ended with a quartal chord built with perfect fourthsthe first time, and on a later repetition, the bottom two voices were lowered for a completely differentquartal sound.



Ex. 13.14 Mixture of inverted quartal & tertian triads

&

?

c

c

œœœ œœœ##jœ

œœœ œœœn œœœ œœœ œœœ œœœ##


œœœ œœœ ‰jœœœ ˙

œ œ œœœ œ œ œ

www


&

?œœœ œœœ##jœ

œœœ œœœn œœœ œœœ œœœ œœœ##


œœœ œœœ ‰jœœœbb ˙

œ œ œœœ œ œ œ

www

œ œ œ œ œ œ œ œThe first section of an original composition, Arches, occurs over an F pedal. Woodwinds softly play adescending floating pair of notes a perfect fourth apart over the F pedal while flugelhorn, guitar andflute play the melody.

13.15 Bert Ligon: Arches. Floating two note quartal chords & melody over F pedal

&

&

‰ Jœ œ .œb ˙

œœbb œœ ˙bb

˙ Œ ‰ œ œb

..œœ œœbb œœ ..œœbbjœœ

œb œb œb œ œ œ œ œ œ œ

..œœnn œœbb œœ ..œœ œœbb œœ

.˙ Œ

..˙ Œ

&

&

œ œb œ ≈ œb œb œ œ œ œ œ

..œœ œœ# œœ ..œœ œœbb œœ

.œn œ .˙

..œœbb œœœœ ....˙˙˙

∑

wwww

∑

wwww

&

&

‰ Jœ œ .œb ˙

œœbb œœ ˙bb

˙ Œ ‰ œ œb

..œœ œœbb œœ ..œœbbjœœ

œb œb œb œ œ œ œ œ œ œ

..œœnn œœbb œœ ..œœ œœbb œœ

.˙ Œ

..˙ Œ



Arches, cont.

&

&

œ œb œ ≈ œb œb œ œ œ .œ œ

..œœ œœ# œœ ..œœ œœbb œœ

œ œb œ ˙ ‰ œ œb

..œœ œœ# œœ ..œœbb œœ œœ

œ œb œ .˙

œœ# ..œœbb œœ ˙

‰ jœ ≈ .jœ ˙

‰ jœœ≈ ..jœœ ˙

The reduction shown in ex. 13.16 from Arches. shows how the two-note floating quartal chords and themelody combine to make different quartal triads over the F pedal.

13.16 Bert Ligon: Arches. Reduction: two-note chords + melody note = quartal triads

&

?

wwwbb

w

wwwbb

w

wwwbnn

w

wwwnbb

w

wwwn#n

w

wwwbb

w

www

wStevie Wonder has written some very jazz sounding pop songs and has occasionally used quartal chordsto achieve a contemporary sound. These inverted quartal chords occur a Gb pedal in the introduction toa piece.

13.17 Quartal Triads over a Pedal

&

? c

Œ œœœ#jœœœ œœœ

jœœœbbnwb

œœœ ...˙˙˙bb˙ œ œb œb œb

Œ œœœ#jœœœ œœœ

jœœœbbnw

œœœ ...˙˙˙bb˙ œ œb œb œb

Quartal voicings have found their way into traditional harmonic settings. The dominant chords in ex.13.18 are stacked quartal chords moving parallel. The augmented fourth interval which makes the chordsdominant seventh chords, are on the bottom of each voicing.

13.18 Dominant chords with quartal voicings

&

?

bb

b b

Ó œœœ. œœœb.

Ó œœœ. œœœb.

œœœ. œœœ. œœœbb œœœ ‰ J

œœœœœœb. œœœ. œœœb œœœ ‰ J

œœœ

wwwwww



The inversion of a quartal chord shown in ex. 13.19 is attractive with the top melodic pitch doubled anoctave lower. It can be used in a number of musical settings. It is shown below over an Ab lydian sound.Pat Metheny has used a similar idea at the end of tunes.

13.19 Quartal Chords over Lydian

& œœœœ œœœœb œœœœ œœœœbbb

Abmaj7#11

œœœœ œœœœbbbb œœœœ œœœœbbb wwww

The quartal chord with an augmented fourth on the bottom is useful for a dominant chord. The Ab - D -G chord is useful for a Bb13 chord (7-3-13) or for the tritone substitute dominant E7 (3-7-#9). The chordmay also be used for Fm, Dø7, and G7susb9 chords. The inversion of this chord is very dissonant withthe minor second clash in the middle, however, that may be the very reason to use it. Guitarist JohnScofield uses these chords and inversions in many contexts.

13.20

& wwwb wwwb wwwb

A listening list for other artists using quartal harmonies must include McCoy Tyner, especially with theJohn Coltrane Quartet and Blue Note recordings from the 1960’s, and Herbie Hancock with Miles Davisand Wayne Shorter.

Chapter 14 Other Scales & Colors 331


XIV. OTHER SCALES & COLORS

The focus of this book has primarily been the relationship of jazz to the major/minor system. Melodicmaterial has been shown as it relates to the major or harmonic minor scale with chromatic elaboration.Searching for other expressive colors, jazz musicians have found other scales for harmonic and melodicmaterial. The major/minor system is not tossed aside, rather it is used as a platform or foundation onwhich other colors are placed. Experimentation with other scales and chords inspired jazz composers tocreate music whose harmonic and melodic vocabulary specifically calls for sounds not available fromthe major and harmonic minor scales. Five other scales and their modes will be introduced in thischapter: melodic minor, major b6 (sometimes called harmonic major), symmetrical diminished(sometimes called octatonic), whole tone, and augmented. The relationship of each mode to a specificchord and harmonic and melodic applications will be discussed. These scales may be utilized in two dif-ferent ways: to colorfully enhance traditional progressions; and to effectively negotiate the harmony ofcontemporary compositions that demand very specific harmonic sounds.

One of the goals in writing this book was to discuss many aspects of jazz improvisation beyond the dis-cussion of chord/scale relationships. The notion that jazz improvisation is a matter of plugging in thecorrect scale for each individual chord is a common misconception among young improvisers andeven many educators. This leads to unnecessary confusion for some students and overlooks the histori-cal significance of major/minor system and the many others techniques of developing musical ideas.However, it is important to understand the relationships of specific chords to specific scales and theirapplications to contemporary and traditional musical settings

Anyone who understands traditional theory will recognize that the three chords below belong to the keyof C major, and that they represent the functional chords: ii7 - V7 - I. In many chord/scale theory dis-cussions, each of the chords is assigned a different scale: Dm7 is labeled D dorian; G7 as G mixolydian;and Cmaj7 as C ionian. Describing this passage as three different modes or scales is misleading andunnecessarily complicated. It is doubtful that anyone hears three different tonics in this passage as issuggested by the three modes. All of these chords were derived from the C major scale, and that onescale best describes the passage.

14.1 Three different modes or united in the key of C major?

& c w w w w w w w wDm7

w w w w w w w wG7

w w w w w w w wCmaj7

A student illustrated the worst case scenario of chord/scale misunderstanding He had learned scalesand their relationship to chords and played the passage below. He knew it did not sound like jazz butcould not figure out why as he had applied a “correct” scale for each chord. As these new scales are in-troduced, remember that they represent distinct colors and not a method for improvisation. All previ-ously discussed concepts of voice leading and melodic construction are still applicable even with the in-troduction of new scale colors.

332 Chapter 14 Other Scales & Colors


14.2 Not Jazz

& c œ œ œ œ œ œ œ œCmaj7

œ œb œ œb œb œ œ œA7

#9b13

œn œn œ œ œ œn œ œDm7

œ œb œb œb œb œb œ œG7

#9b13

There are several “exotic” scales that can be constructed and have been cataloged in other books, butthe most commonly used scales for application in jazz improvisation and composition are modes ofmelodic minor, major b6, diminished, whole tone, and augmented scales.

SCALES for JAZZ IMPROVISATION

SCALES FORMULA

1 Major W - W - 1/2 - W - W - W - 1/2

2 Harmonic Minor W - 1/2 - W - W - 1/2 - A2 - 1/2

3 Melodic Minor W - 1/2 - W - W - W - W - 1/2

4 Major with a b6 (Harmonic Major) W - W - 1/2 - W - 1/2 - A2 - 1/2

5 Diminished (1/2 - W)

6 Diminished (W - 1/2)

7 Whole Tone W - W - W - W - W - W

8 Augmented m3 - 1/2 - m3 - 1/2 - m3

14.3 Scales shown with C as Root:1. 2. 3.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙b ˙ ˙ ˙b ˙n ˙ & ˙ ˙ ˙b ˙ ˙ ˙n ˙n ˙4. 5. 6.

& ˙ ˙ ˙ ˙ ˙ ˙b ˙ ˙ & ˙ ˙b ˙b ˙n ˙# ˙n ˙ ˙b ˙ & ˙ ˙ ˙b ˙ ˙# ˙# ˙ ˙ ˙7. 8.

& ˙ ˙ ˙ ˙# ˙# ˙b ˙ & ˙ ˙# ˙ ˙ ˙b ˙n ˙

CHORD/SCALE EQUIVALENCY

There are two common ways of describing a group of seven notes: as a scale (1-2-3-4-5-6-7-1): andspelled in thirds as a triad with upper extensions (1-3-5-7-9-11-13). The scale and the chord represent thesame pitches so that a chord = scale and a scale = chord. Scale positions will be referred to by thenumbers 1-2-3-4-5-6-7 and chord tones by the numbers 1-3-5-7-9-11-13. Scales tones 2-4-6 are the same aschord tones 9-11-13.



MODES of the MELODIC MINOR SCALE

The chords derived from the melodic minor scale do not function the way that chords function in ma-jor and minor. The chords could be labeled with Roman numerals corresponding to scale degrees, butthey would be meaningless in the traditional sense of identifying function, and therefore would confusemore than enlighten. Historically the melodic minor was often used for melodies, as is suggested by itsname. It is constructed by raising the sixth and seventh degrees of a natural minor scale when ascendingand lowering them when descending. These steps are easier to sing than the harmonic minor scalewhich includes the awkward augmented second. Altered notes tend to continue in the direction in whichthey have been altered. A minor sixth and minor seventh point down to the dominant. A major sixthand major seventh point more easily to the tonic. This is usually the scale a student will naturally singwhen asked to sing a minor scale. The melodic minor that is used in jazz is only the ascending versionas the descending scale is natural minor or aeolian mode. The melodic minor that ascends and de-scends with the raised sixth and seventh is sometimes called jazz minor.

FIRST MODE of MELODIC MINOROther Names: Melodic Minor, Jazz Minor

Applications: ChordSymbol

How to find relativeMelodic Minor:

Effect:

Substitution tonic chordin minor key

mmaj7mmaj9

m6/9maj7

First mode of melodic minor.Melodic minor on root of chord.

Brighter than a naturalminor or harmonic mi-nor due to the raisedsixth and seventh de-

grees.

The first mode of melodic minor is one note different from a major scale and one note different fromharmonic minor. A major scale can be changed to melodic minor by changing the major third to aminor third. A natural minor scale is made into harmonic minor by raising the leading tone. Raisingone more pitch, the sixth, creates melodic minor. The melodic minor scale is one note brighter thanthe harmonic minor scale and one note darker than a major scale. Three chords are shown below thatcan be derived from melodic minor. The chord symbols Cmmaj7 or Cmmaj9 could call for the firstmode of harmonic minor or melodic minor. The last chord shown can only be derived from themelodic minor as it includes both the raised sixth and seventh.

14.4 Melodic Minor

&

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w w wb w w wn wn wwwwnb

Cmmaj7

w

wwwbCmmaj9

wwnwwwn

Cm69maj 7

wwwnb



SEVENTH MODE of MELODIC MINOROther Names: Superlocrian, Diminished-Whole Tone, Altered Scale



Effect:

V7 in minor and canresolve to major.

7 Alt.7 with b13,b9, #9, b5

Seventh mode of melodic minor.Count the root of the V7 as 7 and

go up to 1.

Darker than dominantsavailable from fifth

modes of major or har-monic minor.

The seventh mode of melodic minor is also called superlocrian, diminished whole tone, and the alteredscale. It contains four possible alterations for a dominant chord: b9, #9, b5 (#11), and b13 (#5). This is adarker sound than the dominant chord scale from the fifth mode in major or harmonic minor. Thedominant in major has a n13, n5 and a n9. A dominant chord derived from the fifth mode of harmonicminor has a b13, n5 and a b9. The altered notes in the superlocrian suggest a dominant that resolves to aminor key. The B7, shown below built on the seventh mode of C melodic minor, has a Gn (b13)and a Cn(b13) suggesting a dominant of E minor. Superlocrian is not the only choice for resolution to minor.There are times when the b5 will sound dissonant, and the fifth mode of harmonic minor or third modeof major b6 would be better choices. Any dominant that points to a minor key may also resolve to majorkey. The inverse is rarely if ever true.

14.5 Superlocrian

&

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w w w wb w w w w

wwwB7b13

#9b9

wwwa

wwwwB7b13

#9 b9b5 B7alt.

wwwa

This excerpt is from a recently written tune by Mike Stern using traditional harmonic progressions withcontemporary concepts. The Cm7 in m.1 connected to the F7 with outline no. 2 (considering the arpeg-gio with the Bb resolving to the A over the measure line), or outline no. 1 (beginning on the Eb and de-scending to the A over the measure line). Superlocrian was used over the F7, and still managed to con-nect to the Bb chord using outline no. 1 (An down the scale to D). Superlocrian is the seventh mode of aharmonic minor scale. F is the seventh degree of Gb or F# melodic minor. To find the related melodicminor scale for a dominant chord, count the root as 7 and go up to 1. All of the notes of the F# melodicminor occurred in m.2, although some are enharmonically spelled. The dark superlocrian sound re-solved to Bb major even thought the Db (C#), and the Gb suggested a resolution to Bb minor.

14.6 Superlocrian used over dominant chord

& c ‰ jœ3

œb œ œb3œ œb œ œ œ

Cm7

œ œ# œ œ œb œb œ œbF7

jœBbmaj7



FOURTH MODE of MELODIC MINOROther Names: Lydian Dominant, Lydian b7



(1) As tritone substitute for a dominantpointing to minor key down a half-step.May resolve down a half-step to major.(2) As backdoor dominant pointing up to amajor key a whole step above.

9#1113#11

Seventh mode of melodic minor.Count the root as 4 and count back to 1.

A chord built on the fourth degree of a melodic minor scale is a dominant sound that does not functionas dominant. If the B7 built on the seventh degree of C melodic minor pointed to E minor, then this F7is the tritone substitute for the B7. They both share exactly the same notes as separate modes of a Cmelodic minor scale. Normally an F7 would point to Bb major or minor, but the Bn in the both the scaleand the chord contradicts a resolution to Bb major.

This F7 also occurs as a backdoor dominant to G major. The backdoor dominant usually follows the IVchord as it progresses back to the I chord as part of an extended plagal cadence. A plagal cadence iswhen IV resolves to I. A plagal cadence can also include the borrowed iv chord as in: IV - iv - I. The ivchord is often replaced by a backdoor dominant. In the key of G the plagal cadence is: C - G; an ex-tended plagal cadence: C - Cm - G. Using seventh chords and a backdoor dominant the cadence wouldbe: Cmaj7 - F9#11 - Gmaj7. A backdoor dominant may also be preceded by a ii7 chord as: Am7 - F9#11 -Gmaj7. The F lydian dominant scale includes the notes of a G triad (G - B - D), which explains its pulltowards G major and not Bb major or Bb minor. Examples of backdoor dominants where this scale isapplicable can be found in Chapter 7 in progression no. 9 (mm.4, 15), no. 10 (mm.7-8), no. 13 (m.10).The #11 and n9 indicate a lydian dominant sound. Lydian dominant is built on the fourth degree of amelodic minor scale. To find the related melodic minor for a lydian dominant chord, count the root as4 and count back to 1.

14.7 Lydian dominant

&

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w w w w w w wb wwwwb

F9#11

ww

wwwwbF13#11

ww

Charlie Parker used lydian dominant on the B section of rhythm changes in ex. 14.8 below. The connec-tion to A melodic minor is clear as he arpeggiated an A minor 1-3-5-7-9 over the D7. Wynton Kelly sug-gested the upper structures 7-9-#11-13 of the Ab7 and Eb7 chords in ex. 14.9 and 14.10 and Tete Montoliuchose to play the entire descending scale over the B7 in ex. 14.11.

14.8 D Lydian dominant outlines upper structure: 5-7-9-#11-13

& c ‰ jœ3

œ œ œ# œ3

œ œ œD9#11

œ œ#



14.9 Lydian dominant upper structure 7-9-#11-13

& bb c ‰ Jœœn œn Jœ .œb ˙

Ab9#11

14.10 Lydian dominant upper structure 7-9-#11-13

& bb c ‰ jœb œ œ œ œ œ œEb9#11

Rœb

14.11 Lydian dominant scale passage

& cœ# œ# œ œ œ# œ# œ# œ# œ# œ œ œ# œ# œ# œ# œ#

B7

œThe lydian dominant scale is sometimes called the overtone scale as the tones can be derived from thefirst twelve tones of the harmonic series (see page 52). In some parts of the world as different and geo-graphically separate as Brazil and Hungary, the lydian dominant scale is used in folk music. Béla Bartókis a composer who used this sound (ex. 14.12) in the earlier part of the twentieth century.

14.12 Ab Lydian Dominant

& 43 ‰ jœb œb œ œ œb œ œb œb œ œ œb œ œb œ œ œb œ œb œ œb œ œ œb œb œ œ œ œb œb œb œbRELATIONSHIP BETWEEN 7TH & 4TH MODES of MELODIC MINOR:

All of the modes of a melodic minor scale are related by sharing the same pitches. The superlocrianand lydian dominant scales are linked by their sharing of the same tritone and are interchangeable asdominants pointing to minor. An altered dominant points to the minor key a perfect fifth below, andthe tritone substitute dominant wants to resolve down a half-step to the same minor key. The third andseventh of B7 are the enharmonically spelled seventh and third of the F7. The B7 and the F7 point tothe key of E minor. The Cn and Gn that indicate a resolution to E minor do not prohibit either of thesedominant chords from resolving to E major. The notes of the C melodic minor scale are shown in rela-tion to the B7 alt. chord and the F9#11 chord in the example below.

14.13 B superlocrian & F lydian dominant derived from C melodic minor

&

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B7 alt.

R b9 #9 3 #11/b5 b13/#5 7 R

www#

w w w wb w w w wF9#11

#11 5 13 7 R 9 3 #11

wwwb



Melodic lines that work for one chord will also work with the other:

14.14 Melodic Minor lines resolving to E minor

&

?

œb œ œ œ œ œ œ œF13#11

ww

wEm

ww

œb œ œ œ œ œ œ œB7alt.

ww

wEm

ww

SIXTH MODE of MELODIC MINOROther Name: Locrian #2



Effect:

Substitution for ii7 andiiø7.

ø7 #2 Built on 6th degree of melodic minor.Count the root of the ø7#2 chord as 6

and count to 1.

Dark as substitute for ii7Bright as substitute for

iiø7.

Play and listen to the chords below. Are they bright or dark? By themselves they could be either: darkbecause of the diminished triad, and bright because of the major ninth interval. An aural test like this isinconclusive because these sounds do not occur in isolation; they occur in some musical context. Thelocrian #2 sound often substitutes for a ii7 or a iiø7 chord. If the Aø7#2 shown below is used in place ofAm7, the ii7 chord in G major, it will sound dark because the expected En is lowered to an Eb. If theAø7#2 is used in place of Aø7, the iiø7 chord in G minor, it will sound bright because the expected Bb israised to a Bn. Locrian #2 is not necessarily a better choice for a iiø7 chord in minor as some jazz theo-rists suggest. It is a choice that brightens an expectation, but the traditional iiø7 sound in minor shouldnot be neglected for the sake of sounding modern. To find the related melodic minor scale count theroot of the iiø7#2 chord as 6 and count up to 1.

The #2 is actually the ninth of the chord, yet it is labeled a 2. It could have been labeled a n9, indicating amajor ninth above the root. This can be confusing, as the iiø7 chord in its natural setting has a minorninth above the root. It could be labeled a #9, indicating raising the Bb to Bn. This is confusing as the #9in the case of dominants is usually notated as its enharmonic (minor tenth) above the root. A minortenth above the An would be a Cn, which would not add the desired pitch. The #2 is the most commoncompromise shorthand for this chord notation.

14.15 Locrian #2

&

?

w w w w wb w w w

w w w w wb w w w

wwwbAø7#2

ww

wwwwbAø7#2

ww

The ø7#2 is often followed by an altered dominant, so that two different modes of melodic minor occurside by side.



Bill Evans used an Fø7 (locrian #2, sixth mode of Ab melodic minor) followed by a Bb7 (superlocrian,seventh mode of B melodic minor). The line ascended an arpeggio over the Fø7 and descended overthe Bb7. The last four notes of the Bb7 were the #9-b9-R-7 of the chord, and pointed to Eb minor.

14.16 Locrian #2 followed by Superlocrian

& c œb œ œb œ œb œb œœbFø7

‰ Jœ# 3œN œ# œ œ# œ œb œb

Bb7

This line, from the same Evans improvisation, is very similar to the line in ex. 14.16, but is in C minor.The exact notes Evan’s used for the Bb7 in the ex. 14.16 were transposed for the G7 chord in ex. 14.17.Evans used locrian #2 (sixth mode of F melodic minor) for the Dø7, and suggested the superlocrian(seventh mode of Ab melodic minor) for the G7.


& c œb œ œb œ œ œ œ œDø7 œb œb œb œ œb œb œ œ

G7

œ œCm9

The raised second degree and altered ninths are not just modern jazz inventions. Clifford Brown usedGø7 (locrian #2, sixth mode of Bb melodic minor) and suggested C7 (superlocrian, seventh mode of C#melodic minor) in the ex. 14.18.


& c ‰ jœ3

œb œb œ3

œ œ œb œ œGø7 œb œb3

œ œ œ œb œ œb œnC7

œ œ œ œjœb

Fm

FIFTH MODE of MELODIC MINOROther Name: Mixolydian b6



Effect:

V7 in major or minor 9 b13 Built on 5th degree of melodic minor.Count the root of the V7 chord as 5

and count to 1.

Ambiguous dominant.n9 is bright &b13 is dark

This dominant is ambiguous as to its destination. Does it point to major or minor? The b13 of G7 (Eb)makes a case for C minor, but the An argues for C major. It is not used as often as other melodic minormodes. To find the related melodic minor scale, count the root of the chord as 5 and count up to 1.



14.19 Mixolydian b6

&

?

w w w w w wb w w

w w w w w wb w w

wwwbG9b13

ww

THIRD MODE of MELODIC MINOROther Name: Lydian Augmented



Effect:

Substitute for maj7chords

maj7#5 Built on 3rd degree of melodic minor.Count the root of the chord as 3 and

count to 1

Ambiguous major 7Bright #5

Augmented chords are ambiguous as they are missing a perfect fifth. Augmented chords built on thethird of a harmonic minor scale often sound like an augmented dominant chord in some inversion. Theaddition of a major seventh to the chord intensifies the ambiguity because it creates a perfect fifth inthe chord between the third and the seventh. This causes confusion because the ear wants to make thethird sound like the root of the chord because of the perfect fifth above. This augmented major seventhchord is often used in contemporary compositions for an unsettling effect. Substituting for a Imaj7 or aIVmaj7 will eliminate the typical sense of resolution associated with major seventh chords. In those in-stances, the augmented fifth may be resolved up to the sixth degree or down to the n5 to gain a sense ofstability. The augmented fifth may be heard as unresolved dissonances from a preceding dominantchord. For instance, a Bb7b9 chord resolves to an Ebmaj7 chord. If the b9 of the Bb7 (Cb or enharmonicBn) is suspended into the Eb chord, the Bn would sound like the augmented fifth of the Eb chord.

14.20 Lydian augmented

&

?wb w w w w w w wb

wb w w w w w w wbwww

Ebmaj7#5

wb

wwwG/Eb

wb

Tom Harrell used the lydian augmented sound in these two examples which ultimately resolved to Cmajor. The 3-5-7 tones of the Cmaj7#5 chord form an E major triad, and so the chord is often writtenshorthand as E/C, meaning an E major triad over a C bass note.

14.21 Lydian augmented

& c3

œ œ# œ# œ œ œ œ œ œn œCmaj7#5

œCmaj7

˙ ‰ jœ# œ œCmaj7#5

œCmaj7



SECOND MODE of MELODIC MINOROther Name: Dorian b2



Effect:

Substitute for 7susb9Substitute for phrygian

D7susb9Ebmaj7#5/D

Aø7#2/D

Built on 2nd degree ofmelodic minor.

Count the root as 2 go back to 1

n13 is brighter and b3 isdarker than fifth modeof harmonic minor.

Brighter than phrygian.

This mode is called dorian b2, but does not sound like and is rarely used to substitute for dorian mode.The b2 makes it a closer relative to phrygian. Although a minor seventh chord can be built from the rootof this scale, it is rarely used as a substitute for a minor seventh chord. It can be used as a substitute for a7susb9. The usual sound associated with a D7susb9 would be the fifth mode of G harmonic minor. The Ddorian b2 sound below is a shade brighter than G harmonic minor because of the Bn, but a shade darkerwithout the F#. When this mode is used to substitute for a D phrygian mode, it retains the significant b2,but is brighter because of the Bn. A chord symbol that is associated with this scale includes a maj7#5 inthird inversion, where the seventh is in the bass as: Ebmaj7#5/D; and a ø7#2 a fifth above the bass noteas: Aø7#2/D.

14.22 Dorian b2

&

?w wb w w w w w w

w wb w w w w w wwwwb

D7susb9

ww

wwwbD7susb9

www

wwwwbD7susb9

www

MODES of the MAJOR SCALE with b6A major scale with a lowered sixth degree is sometimes called harmonic major as the upper four notesare identical to harmonic minor and include the augmented second associated with harmonic minor.

FIFTH MODE of MAJOR SCALE with b6Other Name: Mixolydian b2


How to find relativeMajor Scale with b6:

Effect:

Substitute for V7 inmajor

13b9 Built on 5th degree of major scalewith b6.


b9 is darker,n13 is bright

When a dominant chord in a major key indicates a b9 and a n13, then this scale is appropriate. There willbe another scale discussed later that will satisfy this sound, but it includes other changes not indicatedby the 13b9 chord symbol. The b9 of the dominant is the same pitch as the lowered sixth degree of themajor scale: the b9 of G7 (Ab) is the lowered sixth of C major scale. This chord is darker than a tradi-tional dominant because of the b9, but bright because of the n13. This dominant chord wants to resolveto major on the strength of the n13 which is the major third of the tonic chord.



14.23 Fifth mode of major b6

&

?

w wb w w w w w w

w wb w w w w w w

wwwbG13b9

ww

THIRD MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for V7Points to minor, may

resolve to major

V7 withb9, #9, b13 Built on 3rd degree of major scalewith b6.


Similar to V7 in minorDarker than V7 in major

Brighter than Superlocrianwith the n5

The third mode of major with a b6 yields an altered dominant scale. The fourth note is the enharmonicspelling of a major third. The E7 chord below is created using the Ab to sound like a G#. This sound is anexcellent choice for altered dominants as it includes the b9, #9, and b13. Only one note differentiates thisscale from superlocrian (7th mode of melodic minor). Superlocrian has a b5 and this scale has a n5. Formost situations when a dominant chord has the b9, #9, and b13 alterations, the third mode of major scalewith a b6 is a better choice than superlocrian based on the path of least resistance. When changing fromone chord to the next, the listener tends to retain notes until changed by the next harmonic setting. Allof the chords that typically surround the E7 usually have a Bn. An E7 is usually preceded by a Bm7 or aBø7 chord and may be followed by an Am7 or an Amaj7. Using an E superlocrian with the Bb can bedisruptive while the E third mode of C major b6 retains the Bn and still supplies the b9, #9, and b13.

14.24 Third mode of major b6

&

?

c

c

w w w wb w w w w

w w w wb w w w w

wwwnE7

#9b13

www#



14.25 Comparison of Superlocrian and 3rd mode of C major b6 for E7

&

&

w w w wb w w w wR b9 #9 (3) n5 b13 7 R

w w w wb wb w w wR b9 #9 (3) b5 b13 7 R

3rd mode of C major b6

Superlocrian: 7th mode of F melodic minor

SECOND MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for ii7 ø7 #2(Dm9 [b5])

Built on 2nd degree of major b6Count the root of the ø7#2 chord as 2,

go back to 1.

Dark as substitute forii7

This is another scale that may be used as a substitute for ii7 chords. When substituting for a ii7 chord,the sound is darker because the lowered fifth of the scale changes the minor chord to diminished. It re-tains the bright major ninth. The chord symbol sometimes appears as a m9[b5]. This is a misleading, butnot uncommon shorthand. A minor chord must have a perfect fifth to be minor, the chord symbolm9[b5], suggests a minor chord with the contradictory lowered fifth. The second mode of major b6 is al-most indistinguishable from locrian #2, the sixth mode of melodic minor. The only note that is differentis the sixth degree. Dø7#2, as locrian #2 is based on the F melodic minor scale and has a Bb as the sixthdegree. Dø7#2, as the second mode of major b6 has a Bn as the sixth degree. A Dø7 chord usually pre-cedes a G7 chord and improvisers tend to avoid any kind of a B over the Dø7 chord, not because of adissonance, but because the Bn is usually reserved for the upcoming chord as it identifies the G7 chord.For this reason, it may be difficult to determine whether the improviser or composer suggested onesound or the other as they may have avoided using the one pitch that determines the difference.

14.26 Second mode of C major b6

&

?w w w w wb w w w

w w w w wb w w w

wwwwbDø7#2

w

Cannonball Adderley used the Cø7#2 in the place of the Cm9 chord in the key of Bb major in ex. 14.27.The contrast between the darker Gb (from the parallel key of Bb minor) and the brighter Dn (suggestingBb major) was carried over to the F7 chord. Both the Cø7 and the F7 chords could have been derivedfrom Bb major b6 as no other changes are suggested.



14.27 Cø7#2 arpeggio

& c œb œb œb œ Jœ œb jœ

Cø7#2 jœb .œF13

b9

FOURTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Possible substitute for ior iv chords in minor

mmaj7mmaj9

mmaj7#11

Built on 4th degree of major b6Count the root of the chord as 4, go

back to 1.

Bright as substitute fori or iv

A minor chord with a major seventh (mmaj7) can be derived from the fourth mode of major b6. This isthe third scale available for a minor major seventh chord, the others being the first modes of harmonicand melodic minor. Harmonic minor is the darkest as it has a lowered sixth degree; melodic minor is afraction brighter with its major sixth; fourth mode of major b6 is brighter still as it has a raised fourthdegree which can be the #11 of the chord. The Fmmaj9#11 is spelled like a polychord Em over an Fm.This is not a typical substitution for i or iv, but is a useful scale for melodic material when appropriateor called for by the composition.

14.28 Fourth mode of C major b6

&

?w w wb w w w w w

w w wb w w w w www

Fmmaj7

wwbwww

Fmmaj9

wwb

wwwwNFmmaj7

#11

wwb

The melodic material and the chord symbol suggest the fourth mode of major b6 as the correct soundfor this passage.

14.29 Fourth mode of C major b6

& c Ó Œ œ œ œn ‰ jœ ‰ jœ ‰jœb

Fmmaj9#11

jœ .œ œ.œ œb w

FIRST MODE of MAJOR SCALE with b6Other Name: Harmonic Major



Effect:

Possible substitute for Iin major and formajor7#5 chords

maj7b6maj7#5E/C

Begin the scale on the root of thechord

Darker than majorscale by b6



A major seventh chord an be built on the first degree of the major b6 scale. The lowered sixth degree ofa major b6 scale does not necessarily change the character of this chord. This scale can be superim-posed over a I chord in major, and what changes is the passing tone between the fifth and seventh. Thisscale may be used for augmented major seventh chords with the enharmonic b6 acting as the #5. ACmaj7b6 chord may sound like it has a suspension from dominant chord that proceeds it: The Ab from aG7b9 might suspend over the Cmaj7 before resolving.

14.30 C Major b6 (Harmonic major)

&

?w w w w w wb w w

w w w w w wb w wwwwwb

Cmaj7b6

w

www#Cmaj7#5

w

www#E/C

w

SIXTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Augmented major seven or diminishedmajor seven chords

maj7#5°maj7

Built on b6th degree of major b6Count the root of the chord as 6, go up

to 1.

Two chords can be generated from the sixth mode of major scale with a b6. Constructing with conven-tional thirds, it can create a scale for augmented major seventh chords (maj7#5). A very dense aug-mented major seventh chord with a #9 can also be constructed. The first interval of the scale is an aug-mented second which sounds like a minor third. Using it as such, a diminished major seventh chord(°maj7) can be constructed. The diminished major seventh chord may appear as a triad over a bassnote: G/Ab.

14.31 Sixth mode of C major b6

&

?

wb w w w w w w wb

wb w w w w w w wbwww

Abmaj7#5

wb

wwwwAbmaj7

#5#9

wb

wwwG/Ab

wb

wwwAb°maj7

wb

SEVENTH MODE of MAJOR SCALE with b6Other Name: no common pseudonyms



Effect:

Substitute for vii°7 °7°7 with

added tones

Built on 6th degree of major b6Count the root of the chord as 7, go

up to 1.

Brighter than the sev-enth mode of har-

monic minor.



A half diminished chord can be built on the seventh degree of a major scale. Lowering the sixth of themajor scale allows for a fully diminished chord on the seventh degree. This B°7 diminished chordseems to point to major since the En is in the scale. This scale and chord sounds like an inversion of theG7b9 built on the fifth mode of major b6.

14.32 Seventh mode of major b6

&

?

w w w w w w wb w

w w w w w w wb wwwb

B°7

ww

wwww#B°7 (add E)

ww

wwwnB°7 (add G)

wwwb

APPLICATIONS of MAJOR SCALE with a b6 in a COMPOSITION

The composition View from the Bridge, utilizes all seven modes of a major b6 scale. (An extended ar-rangement of this composition can be found on the University of North Texas CD, LAB ’88). The chartbelow show the modes of major b6 and corresponding chord types.

MAJOR with a b6(Harmonic Major)

CHORD TYPE

1st Major 71st Major 7 b62nd iiø73rd Dominant 7 (#9, b9, b13, n5)4th Minor (major 7)5th Dominant 7 (b9, n13)6th Major 7 #56th °7, °maj77th °7

The sixth mode can be used for two types of chords and will both appear in the composition. The Ebmajor b6 is used for the first three measures with its second mode at (a.), fifth mode at (b.), and the firstmode at (c.). The second and fifth modes of C major b6 appear at (d.) and (e.) before resolving to Cmajor in m.7.

The rhythm of this first phrase may be more interesting than the colorful scale choices. The first twomeasures are in

34. Hemiola is implied in mm.3-4, the rhythm implying a

32 over the

34. The implied meter

change in mm.5-6 is 68 with the three eighth note groupings and dotted quarter notes. This rhythmic

interplay continues throughout the composition.

The sixth mode of G major b6 is implied for the Ebmaj7#5 at (f.) in m.9. The same G major b6 over a B7would create a dominant that points to Em, so the Ebmaj7#5 works like a functional dominant seventhchord in first inversion resolving to the Em.



14.33a Bert Ligon: View from the Bridge

& 43 ˙ œb œbFø7

˙n ‰ JœBb13b9

.œb jœb œEbm aj7b6

œ œ .œ jœEbm aj7

& œ ‰ jœ œ œDø7

.œb .œG13b9

.˙Cm aj7

˙ ŒCm aj7/E

& ‰ jœb œ œ œEbm aj7

#5œ œ .œ jœ œ œ œ œ œ œ

Em 9

.˙Fm aj7

a. b. c.

d. e.

f.

The third mode of G major b6 returns at (g.) over a B7 creating a dominant sound that points to E mi-nor, but resolves to E major. The G# could be retained so that at (h.) an E major b6 scale is suggested.Two scales, E major and E major b6, alternate from mm.15-18, so that the only note that changes is theC# to Cn and back. The modes name is determined by the bass note so that (i.) is the first mode, (h.) isthe fifth, and (j.) is the fourth mode. F# major b6 applies in mm.23-24 using the second mode at (k.) andthe fifth at (l.).

14.33b Bert Ligon: View from the Bridge, cont.

&3

‰ jœ œ œ œ# œF#ø7

œ# œ œ œ œ œB7

b9b13

.˙Em aj7

˙ ŒF#ø7/B

&7

Œ jœ œ# JœEm aj7

Jœ# œ œ jœAm m aj7/E

.œ# .œEm aj7

.˙F#ø7/B

&1

Œ ‰ jœ# œ œEm aj7

œ# œ œ œ œ œAm m aj7

œ# œ œ# œ œ œ œG#ø7

˙# ‰ œ# œC#13b9

g. h.

i. h.

j. k. l.

The G°7 chord in m.27 could be labeled an E°7 in first inversion functioning as the vii°7 of F minor. Thesixth mode of Ab major b6 could be used at (n.). This is the second chord type in the piece that used thesixth mode. The Eb triad over the E in the bass at (o.) can also use the Ab major b6 scale. The Ab major b6scale works well in the measures surrounding the F minor. F minor aeolian is the key of four flats, andthe same four flats are in the Ab major b6 scale. A dominant sound associated with Ab major b6 is built onthe third mode of the scale and that C7 points to F minor. In that sense, the G°7 and the Eb/E functionlike a C7 pointing to the Fm. The sixth mode of C major b6 could be applied to Abmaj7#5 at (p.). The



short return of the first phrase is set in different inversions of the same chords in mm.33-35. The Fø7/Bbat (q.) uses the fifth mode and the G/Ab at (r.) uses the fourth mode of Eb major b6. Earlier in the piece,at m.9, a maj7#5 chord was used to imitate a dominant chord in first inversion. The Gbmaj7#5 at (s.) usesthe same scale, Bb major b6, as a D7 that points to G minor.

14.33c Bert Ligon: View from the Bridge, cont.

&5

jœb œb œb œb œbGbm aj7

jœ œb œb œb œGbm aj7/Bb

jœN œb œ jœG°7

œb œb ‰ œ œbFm 7

&9

˙ ‰ jœbEb/E

˙ ‰ jœDb/Eb

œ œ œ œDm 9

.˙Abm aj7

#5

&3

œ œb œbFø7/Bb

˙n ‰ JœG/Ab

œb œb ˙Ebm aj7/G

‰ jœb œb œ œ œbGbm aj7

#5

n.

o. p.

q. r. s.

The last phrase of the piece moves between the Gm9 and its quasi-dominant chord, the Gbmaj7#5. Theone note that changes between the sixth mode of Bb major b6 and G aeolian is the Gb to Gn in the bass;all other notes remain the same. The hemiola rhythm returns in mm.41-42.

The ending restates the melodic material from m.36 and ends on a polychord: a G minor over an Abminor, (t.). A label could be forced on this chord naming it an Abmmaj9#11, but the polychord may bethe easier designation. The fourth mode of Eb major b6 applies for this sound.

14.33d Bert Ligon: View from the Bridge, cont.

&7

.˙Gm 9

.˙Gbm aj7

#5.˙

Gm 9

‰ jœ œb œb œb œGbm aj7

#5

&1

.œ Jœb œGm 9

œ œb .œ jœbGbm aj7

#5

.˙Gm 9

˙ ŒGbm aj7

#5

&5

Œ œ œbF/F# F#/E

œ œ œbBb/Eb Db/B B/A

.˙Abm .˙ENDING ONLY:

Gm

s. s.

s.

t.



SCALES of LIMITED TRANSPOSITION

All of the scales and modes studied above can be transposed to any twelve pitch levels with a unique setof pitches. There are symmetrical scales that can be transposed a limited number times before repeat-ing the same set of pitches. Three of these scales are frequently used in jazz improvisation: the dimin-ished, whole tone and augmented scales.

SYMMETRICAL DIMINISHED SCALEOther Name: Octatonic, Whole-Half, Half-Whole

The diminished scale is symmetrically constructed of alternating whole-steps and half-steps. It is some-times known as the octatonic scale as is contains eight pitches. The jazz community usually calls thescale half-whole or whole-half distinguishing the modes by their intervallic construction. Diminishedscales can be transposed twice before reaching a scale with identical tones, so there are only threeunique diminished scales. A whole-half scale is shown beginning on C in the first measure of ex. 14.34,and is transposed up to C# and D. Transposing to Eb yields a scale with the identical pitches as a scalestarting on C.

The whole-half diminished scale is associated with diminished chords and is often used as a substitutefor functioning vii°7 chords and non-functioning diminished chords. The scale could be viewed as afully diminished chord with leading tones to each of its chord members. Two fully diminished seventhchord as whole step apart can be derived from any diminished scale so that a chord may have addedtones that are a whole step above members of the chord. An E-G-Bb-Db diminished seventh chord mayhave F#-A-C-Eb as added tones. The diminished scale is brighter than the seventh mode of harmonicminor associated with functioning vii°7 chords. The whole-half scale satisfies the chord tones for anydiminished chord, but should not arbitrarily replace the seventh mode of harmonic minor when play-ing functional vii°7 chords.

The whole-half introduces conflicting information to the functional framework when applied over afunctioning vii°7 chord. For instance, an E°7 is the vii°7 of F minor and would contain the notes: E - F -G - Ab - Bb - C - Db. Substituting an E whole-half yields these notes: E - F# - G - An - Bb - C - Db - Eb. Severalof the notes agree with the F minor sound, yet two notes, the F# and the An, contradict the Fn and Ab of Fminor. This can be a very desirable result, but the scale should be used understanding the effect and ar-bitrary use should be avoided.

Whole-half diminished scales are shown below. Each measure represents four possible roots due to thelimits of transposition. The C diminished is the same as Eb, F#, and A diminished; the C# whole-half isthe same scale as E, G, and Bb; D, F, Ab, and B diminished scales all share the same pitches. The eighttones in the scale necessitates enharmonic spellings.

14.34 Whole-half diminished scales

&

?w w wb w w# w# w w w

w w wb w w# w# w w ww# w# w w# w w wb w w#

w# w# w w# w w wb w w#w w w w wb wb wn w# w

w w w w wb wb wn w# w

The diminished scale lends itself to some very colorful chords that go beyond what is available fromfunctional vii°7 chords. A few are shown in 14.35 over a D°7.



14.35 Colorful chords derived from D whole-half diminished

&

?

www#D°7

w

www##D°7(add C# )

ww

www#D°7(add E )

ww

wwww#n#D°maj7(add E )

ww

wwwnD°7(add G)

www#

wwwbD°7(add Bb)

www#

The half-whole diminished scale is associated with dominant chords. Transposition works the same forhalf-whole as with whole-half. A C half-whole is the same scale as Eb, F#, and A half-whole diminishedscales.

14.36 Half-Whole dominant scales

&

?w wb wb wn w# w w wb w

w wb wb wn w# w w wb ww# w w w w wb wb wn w#

w# w w w w wb wb wn w#w wb w w# w# w w w w

w wb w w# w# w w w w

Many scales available for dominant substitutions have clear functions, pointing to either major or mi-nor, working as a tritone substitution or a backdoor dominant. The half-whole dominant scale is am-biguous and can found substituting for any kind of dominant. The alterations and upper extensionsavailable are numerous and often contradictory. The C7 shown below has the following alterations andextensions: b9, #9, #11, and n13. The presence of the b9 and #9 (Db and Eb) suggests the C7 points to F mi-nor. The n13 (An) indicates F major as the goal. The #11 (F#) suggests the C7 is either a tritone substitutefor F#7 pointing to B minor or a backdoor dominant moving up to D major. The ambiguity is part ofthe attraction to the half-whole diminished scale as a dominant substitute.

14.37 Colorful dominant chords available from half-whole diminished scale

&

? c

wwwbbC7b9

ww

www#bbC7b9#11

ww

www#b#C7#9#11

ww

wwww#bbC13#11

b9

ww

ww#bC7#9

ww

wwww##C13#11

b9 #9

wwwwwbb

Another attractive feature of diminished scales is that melodic shapes can be transposed and sequencesto three other pitch levels within scale. Two three-note motives are sequenced at the interval of a minorthird in ex. 14.38.



14.38

& c œ œ# œ# œ# œ œ œ# œ œ œ œbœb œ œb œ

C7

.˙ ŒF

≈ œb œb œœ œb œ# œ œ œ# œ œ œ œb œb œC7

.˙ ŒF

WHOLE TONE SCALEOther Name: no common pseudonym

The whole tone scale can only be transposed once. There are only two mutually exclusive six note scalesconstructed by whole-step intervals. The whole tone scale is associated with augmented triads and dom-inant chords with augmented fifths. It is not widely used, but can be an effective color. The dominantchord tends to want to resolve to major. The n9 indicates major and the #5, when it resolves up in the di-rection in which it has been altered, resolves to a major third. The #5 (G#) of the C9#5 chord below, re-solves up to an An, the third of F major. There is a slight difference between a C9#5 and C9b13, eventhough the #5 and b13 are enharmonically identical. The difference is revealed by the resolutions: The #5wants to resolve up to the third of the next chord; the b13 moves down to the ninth.

When two or more dominants separated by a whole-step are present in a progression, the whole tonescale may be used to connect them. For instance, a repeating progression of C7 - Bb7 - Ab7 - Bb7 coulduse the same whole tone scale.

14.39 Whole Tone Scale

&

?w w w w# w# wb w

w w w w# w# wb wwb wb w w w w wb

wb wb w w w w wb

14.40 Chords available from the Whole Tone Scale

&

? c

ww#C7#5

wwbwwb

C7b5

wwb

www#C9#5

wwb

wwww##

C9#5#11

wwb

AUGMENTEDOther Name: no common pseudonym

The augmented scale is an unusual scale of limited transposition. It is constructed with the alternating in-tervals: m3-m2-m3-m2-m3-m2. The unusual construction limits its use in traditional settings. Improvisersand composers who use this scale and sonorities from this scale may superimpose it over traditionalsettings for effect or create new music suited for these sounds. The diminished scale could be con-



structed by adding a leading tone to the four diminished chord tones. The augmented scale is similarlyconstructed by adding leading tones to an augmented chord. The colorful scale has been used by manycomposers of the twentieth century including Béla Bartók as shown in ex. 14.42.

14.41 Diminished Scale = Augmented Scale =

°7 chord with leading tones Augmented chord with leading tones

& œ ˙ œ ˙b œ ˙# œ# ˙ œ ˙ œ ˙ œ# ˙ œ ˙b œ ˙

14.42 Augmented Scale

& 4311

œ œb œn œ œ# œ œ œn œ œb œœ 11

œ œb œn œ œ# œ œ œn œ œb œ

Because of its symmetry there are only two modes of the augmented scale. The scale can only be trans-posed to four unique pitch sets as shown below.

14.43 Augmented Scales:

C, E, & Ab Db, F, & A D, F#, & Bb Eb, G, & B

&

?˙ ˙# ˙ ˙ ˙# ˙ ˙

˙ ˙# ˙ ˙ ˙# ˙ ˙˙b ˙ ˙ ˙# ˙ ˙ ˙b

˙b ˙ ˙ ˙# ˙ ˙ ˙b˙ ˙ ˙# ˙ ˙b ˙# ˙

˙ ˙ ˙# ˙ ˙b ˙# ˙˙b ˙b ˙n ˙b ˙n ˙ ˙b

˙b ˙b ˙n ˙b ˙n ˙ ˙b

The most common chords derived from the augmented scale are a major 7 chord with a #5 and a minorchord with a major seventh. Some unusual chords may be created that may be difficult and misleadingfor traditional names. The last chord below might be better labeled a B augmented triad over a C aug-mented triad.

14.44 Chords derived from the C, E, & Ab Augmented Scale

&

?

c

cwww#

Emmaj7

wwwwb

Cmmaj7

wwwwbb

Abmmaj7

wb

wwwbnbEmaj7#5

wnwww#n

Cmaj7#5

wwww

Abmaj7#5

wb

wwwn#Cmaj7#5#9

www#

The augmented scale is sometimes used over conventional chords for effect even though there are con-flicting tones. Three major triads derived from the augmented scale are used over the C7 in the line in



ex. 14.45. The C triad obviously has no conflicts with C7. The Ab suggests the b13 (Ab) and the #9 (Eb). TheE triad contains the Bn, which contradicts the dominant seventh of C7, and adds a spice to the line.

14.45 Augmented scale over a Dominant chord

& c Ó Œ ‰ Jœb œ œ œ œ œb œ œb œC7

(C) (Ab)œ œ# œ œ œn œ œ œb

(E)

.œjœ Ó

F

The inversion of the line can be used over a minor chord. The three major triads when inverted be-come Cm, Em and Abm. There are notes in ex. 14.46 that momentarily contradict the Cm, but as in theprevious example, symmetry and linear motion are more important to the melodic success.

14.46 Augmented scale over a Minor chord

& c ‰ jœ œ œb œ œ œn œCm

(Cm) (Em)

œ œ œb œ œb œ œ œ(Abm) (Cm) œ Œ Ó

The best use for an augmented scale may be to depart from the traditional sounds. In the ex. 14.47, allfour of the augmented scales are used over a C pedal, each giving different color to the passage. All ofthe scales contain some tones that may related to C, but the line is held together more from motivic re-lationships that tones related to a tonic pitch.

Four augmented scales occur in the following example. Eb augmented scale (a., d., h., k. and l.), C#augmented scale: (b., f. and j.), C augmented scale: (c. and g.), and D augmented scale: (e. and i.).

14.47 Augmented scales over a C pedal

& c .œb Jœ ˙C Pedal

‰ Jœb œ œ œ œ œb œ .œb jœb ˙ Œ ‰ Jœb œ œ œb œ

& .œ jœ# œ ‰ Jœn œ œ# œn œ œb œ.œ.œ œb ˙ ‰ jœ

‰ jœb ˙b& ‰ jœ œb œ# œ œ œ# œ

œb œ œb œn ˙ ‰ jœ œ# œ œ ‰jœb œ œ œb ‰ jœ œ# œb

& œ œ# œn œ œ# œ œ œb œn œb œ œbÓ Œ

œ œ# œ œ œb œ# œ œ# œb œ œn œb œ œ



CHORD/SCALE RELATIONSHIPS REVIEW

The following charts catalog all of the previously discussed chord/scale relationships sorted by scales,and then sorted by chord type.

LIST of SCALES with POSSIBLE DERIVED CHORDS:

MAJOR SCALE CHORD TYPE

1st Major 72nd Minor 73rd Minor 74th Major 75th Dominant 76th Minor 77th ø7

HARMONIC MINOR CHORD TYPE

1st Minor (major 7)2nd ø73rd Major 7 #54th Minor 75th Dominant 76th Major 77th °7

MELODIC MINOR CHORD TYPE

1st Minor (major 7)2nd Minor 7 (b9)3rd Major 7 #54th Dominant 9 #11

Lydian dominant5th Dominant 9 b136th ø7 #27th Dominant 7

(#9, b9, b13, b5,)


CHORD TYPE

1st Major 71st Major 7 b62nd iiø7 #23rd Dominant 7

(#9, b9, b13, n5)4th Minor (major 7) #115th Dominant 7 (b9, n13)6th Major 7 #56th °7, °maj77th °7

1/2W DIMINISHED CHORD TYPE

Dominant 7(b9, #9, n13, #11)

W1/2 DIMINISHED CHORD TYPE

°7, °7 with added notes

WHOLE TONE CHORD TYPE

Dominant 7 (9, #5)

AUGMENTED CHORD TYPE

Major 7 #5Major 7minor (major 7)

LIST of CHORDS with POSSIBLE SCALE SOURCES:

CHORD TYPE SCALE SOURCE CHARACTERISTICS

1. Major 7 Ionian; 1st mode Major n4, 7

2. Major 7 Lydian; 4th mode Major #113. Major 7 6th mode Harmonic Minor #9, #114. Major 7 Major with a b6 b6 or b13

5. Major 7 Augmented Maj/Min3, 5, #5 or b6


6. Minor 7 Dorian; 2nd mode Major Major 6, m3

7. Minor 7 Phrygian; 3rd mode Major b2, b68. Minor 7 Aeolian; 6th mode Major b6, b39. Minor 7 4th mode Harmonic Minor #410. Minor 7 Dorian b2; 2nd mode Melodic

Minor

b2




11. ø7 Locrian; 7th mode Major b5, b212. ø7 2nd mode Harmonic Minor b5, b213. ø7 Locrian #2; 6th mode of Melodic

Minor

#214. ø7 2nd mode Major with a b6 #2


15. Minor/Major 7 1st mode Harmonic Minor b616. Minor/Major 7 1st mode Melodic Minor n617. Minor/Major 7 4th mode Major with a b6 #1118. Minor/Major 7 Augmented Maj/Min3, 5, #5


19. Major 7 #5 3rd mode Harmonic Minor #5, n420. Major 7 #5 3rd mode Melodic Minor #5, #1121. Major 7 #5

Major 7 b6 or b13Major with a b6 n5, b13

22. Major 7 #5 6th mode Major with a b6 #5, #9, #1123. Major 7 #5 Augmented Maj/Min3, 5, #5


24. Diminished 7 7th mode Harmonic Minor Traditional sound

25. Diminished 7 Diminished W 1/2 Tones whole step above each chordmember available

26. Diminished 7 7th mode Major with a b627. Diminished 7 6th mode Major with a b6


28. Dominant 7 Mixolydian; 5th mode Major n9, n5, 13

29. Dominant 7 5th mode Harmonic Minor b9, b1330. Dominant 7 Lydian b7; 4th mode Melodic

Minor9, #11, 13

32. Dominant 7 Super locrian; 7th mode MelodicMinor

b9, #9, b13, b533. Dominant 7 Mixolydian b6; 5th mode Melodic

Minor9, b13

35. Dominant 7 5th mode Major with a b6 13 b936. Dominant 7 3rd mode Major with a b6 b9, #9, b13, n537. Dominant 7 Diminished 1/2 W b9, #9, #11, n1339. Dominant 7 Whole Tone 9, #5

There are nine individual scale sounds for a dominant chord. Each has specific alterations that implyseveral possible resolutions. These dominants may point to the major or minor key a perfect fifth below,function as a tritone substitute dominant resolving down a half-step to a major or minor key, or act as abackdoor dominant resolving up a whole-step to a major key. The destination of some dominants maybe unclear because of certain ambiguous chord tones. The nine possible dominant sounds for C7 areshown below.



A C7 built on the dominant of F major scale will obviously point to the key of F major. The chord mayhave a n5, n13 and n9.

14.48 5th mode of F Major Scale: points to F major

&

?w w w w w w wb w

w w w w w w wb wwwwb

C13

ww

A C7 built on the dominant of F harmonic minor points to F minor. The chord may have a n5, b13 andb9. This sound may resolve to F major, but with an Ab and Db, points to F minor.

14.49 5th mode of F Harmonic Minor: points to F minor

&

?w wb w w w wb wb w

w wb w w w wb wb wwwwbbb

C7b13

b9

ww

A C7 built on the fifth mode of F melodic minor may point to F major or F minor. The n9 (Dn) points toF major; the b13 (Ab) points to F minor. The context surrounding the C7 will help determine the ex-pected resolution.

14.50 5th mode of F Melodic minor: points to F major or F minor

&

?w w w w w wb wb w

w w w w w wb wb wwwwbb

C9b13

ww



A C7 built on the third mode of Ab major b6 points to the key of F minor. The Db, Eb, Ab and Bb are alltones common to F minor and offer these alterations for the C7: b9, #9, and b13. Any dominant soundthat points to minor may resolve to major.

14.51 3rd mode of Ab major b6: points to F minor

&

?w wb wb wb w wb wb w

w wb wb wb w wb wb wwwwbbb

C7b13

#9

ww

A C7 chord built from the seventh mode of Db melodic minor contains the same tones that pointed toF minor as the Ab major b6, Db, Eb, Ab and Bb, and the additional altered tone Gb. This sound may resolveto F major even though it points to F minor.

14.52 7th mode of Melodic Minor: points to F minor

&

?w wb wb wb wb wb wb w

w wb wb wb wb wb wb w

wwwwbbbb

C7alt.

ww

A C7 constructed from the fifth mode of F major b6 suggests a resolution to F major. The An is thestrongest indicator as the n13 of C7 and the major third of F. The Db may suggest F minor, but the An ex-erts the strongest force indicating a resolution to F major.

14.53 5th mode of F major b6: points to F major

&

?w wb w w w w wb w

w wb w w w w wb wwwwbb

C13b9

ww

A C7 constructed from a half-whole diminished scale is an ambiguous pointer. It points many placesand definitively to no single place. A case can be made for several resolutions, its ambiguity being oneof the attractive characteristics of this sound.

The Db and Eb, the b,9 and #9 of C7, suggest a resolution to F minor. The An, n13 of C7, points to F major.The F# suggests the chord may be a tritone substitute for F#7 pointing to B minor (because of the Gn andAn) or to B major (the enharmonic Eb = D#, the major third of B) The F# also suggests the possibility ofthe C7 chord being a backdoor dominant to D major.



14.54 Half-Whole Diminished: could point to F major or minor, B major or minor, D major

&

?w wb wb wn w# w w wb w

w wb wb wn w# w w wb wwwww#bb

C13#11

b9

ww

wwwbC13#9

wwb

wwwwb#wwwwwbb

The C7 constructed from the whole tone scale points to F major. The Dn (n9) suggests the key of F major.The scale does not contain the major third of F, but contains a G#, a pitch that typically resolves up toan An.

14.55 Whole-Tone Scale: points to F major.

&

?w w w w# w# wb w

w w w w# w# wb wwww#b

C9#5

ww

Difference between a #5 & b13?

A C9b13 and a C9#5 sound exactly the same when played out of any musical context. Is there a differ-ence? The difference can be determined only in a musical context. Notes tend to continue in the direc-tion in which they have been altered so a b13 wants to resolve down to the ninth of F, and the G# wantsto resolve up to the third.

14.56 C9 with #5 or b13: context determines difference

&

?

wwwwbbC9b13

w

wwww#bC9#5

w

wwwwb

w

wwwwbbC9b13

w

wwww

w

wwwwb

w

wwww#bC9#5

w

wwww

wThe C7 built from the fourth mode of G harmonic minor does not point to F major or F minor. The F#suggests that this sound may be a tritone substitute dominant for F#7. The Dn and Gn suggest that the C7as a tritone substitute chord for F#7 is pointing to B minor and not B major. It could be used to resolveto B major, as all dominants that point to minor may resolve to major. These same pitches over an F#7would be called superlocrian, the seventh mode of G melodic minor, which explains whey this soundover C7 points to B minor. This chord/scale sound may occur in this progression: Gmaj7 - C9#11 -Dmaj7, where the C7 is acting as a backdoor dominant pointing to D major.



14.57 4th mode of G Melodic Minor: points to B minor or D major

&

?w w w w# w w wb w

w w w w# w w wb wwwww#b

C13#11

ww

HEXATONIC OPTIONS

Some of the scale choices are very similar with only one note difference between two scales. C7 with #9and b13 could be derived from 3rd mode of Ab major b6 or 7th mode of Db melodic minor. The seventhmode of Db melodic minor contains Gb and the third mode of Ab major b6 contains Gn. Another optionis to use a hexatonic scale (six tones) which omits G.

14.58Superlocrian (7th Db melodic minor): 3rd mode of Ab major b6: Hexatonic Scale without a G:

&

?w wb wb wN w wb wb w

w wb wb wN w wb wb ww wb wb wN wb wb wb w

w wb wb wN wb wb wb ww wb wb wN wb wb w

w wb wb wN wb wb w

A Cø7#2 could be derived from the sixth mode of Eb melodic minor or from the second mode of Bbmajor b6. The one note distinguished the two scales is the A or Ab. An option is to use a hexatonic scaleeliminating any type of A.

14.59Locrian #2 (6th of Eb melodic minor): 2nd of Bb major b6: Hexatonic scale without A:

&

?w wN wb w wb wb wb w

w wN wb w wb wb wb ww wN wb w wb wN wb w

w wN wb w wb wN wb ww wN wb w wb wb w

w wN wb w wb wb w



DETERMINING the APPROPRIATE SOUND

Chords have been inventoried by scales and modes; and scales cataloged by chord types in the preced-ing sections. The most important aspect of chord/scale relationships is not their relationship to eachother, but to actual musical environments. Chord/scales must be understood in a musical context.Choosing the correct form of a verb is determined by mood, number, person, tense, and voice.Choosing the appropriate chord/scale is the musical analog of verb conjugation, and the choices aredetermined by melodic implications, chord symbols and context. A responsible improviser or com-poser would not arbitrarily pick from the previous charts and plug in sounds at random any more thana writer would compose sentences by picking from lists of possible parts of speech. A responsible im-proviser does not pick a favorite sound for a ii7 chord or a favorite sound for a dominant chord anduse it for all situations.

A responsible improviser usually determines the expected sound before choosing to impose substituteor alternative sounds. By understanding the musical expectations, a musician can better choose alterna-tive elements and sounds to play against or support those expectations. Most musical settings provideenough information to accurately determine the appropriate chord/scale sound. Information is pro-vided by the chord symbol, the melodic implications, and the context in which the chord occurs.

CHORD SYMBOL & CONTEXT

A chord symbol may suggest four, five and even seven notes of the scale. The other remaining scaletones can be decided from the context and melodic implications. Context refers to the preceding mu-sic; these are the sounds that the listeners (listeners includes the musicians) have just heard, and thesetones remain with the listener until something in the music changes those expectations.

The chord symbol “Fm7” reveals four notes of a seven note scale: F - Ab - C - Eb. Three notes are left tobe determined: some kind of a G, B, and D. Fm7 could be from the keys of three, four and five flats, sothe G could be Gn or Gb; the B would be Bb in any of those contexts, and the D could be Dn or Db.Melodic material in the context may include one or more of these pitches. Chords that preceded theFm7 will likely reveal the identities of the remaining three notes. Look for chords that precede the Fm7whose chord tones include a G or D as the root, third, fifth, seventh or ninth. Cm9 that might precedethe Fm7 chord has Gn as the fifth and Dn as the ninth and therefore suggests the key of three flats for theFm7 chord. Ebmaj7 or Gm7 suggest Gn and a Dn, and the key signature of three flats. Fm7 preceded by aDbmaj7 and Gbmaj7 suggest Gb and Db, and the key signature of five flats. An Eb9 chord suggests the keysignature of four flats with a Gn and Db.The symbol for a ninth chord supplies five tones, with only two scale tones left to be determined of theseven tone scale. The two remaining tones can be decided by the melodic material or the context. AGmaj9 suggests five notes of a scale: G-B-D-F#-A. Two notes of the scale not given by the chord symbol(C or C# and E) can be determined by the melodic material or context. Look for some chords that pre-cede the Gmaj7 that include either a C# (C#ø7, A7, F#m7 and Dmaj7) or Cn (Cmaj7, Am7, F#ø7 and D7).

The chord symbol “C13#11” discloses seven pitches. The seven pitches can be described as a chord (C-E-G-Bb-D-F#-A) or a scale (C-D-E-F#-G-A-Bb).MELODIC IMPLICATIONS & CHORD SYMBOL

Compositions reveal specific chord and scale sounds in a combination of chord symbols and melodiccontent. There are times when the chord symbols are quite specific and others when the chords do notclearly identify upper extensions or a complete scale. If a dominant seventh chord is the only symbol,and no extensions or even the ninth are identified, the performers must decide which of the manyavailable sounds are the most appropriate. The choice should not be made arbitrarily. A seventh chord



only suggests four notes of a seven note scale. The composer or arranger may assume the performer candetermine the appropriate sound and scale choice from the context and melodic implications. A C7with An and Dn in the melody does not suggest some exotic dominant scale with alterations, but C7 asthe V7 of F major, using the F major scale. Another C7 with An, Dn and the additional tone F# suggeststhe very specific C lydian dominant scale.

A C7 chord may be labeled with the alterations #9 and b13. Two scales are possible with those alterations:superlocrian (seventh mode of Db melodic minor with a Gb) or the third mode of Ab major b6 (with aGn). If there is a Gn in the melody, then the composer has made the choice for the performer. The con-text may be overruled by the melody.

There will be instances that the composer has included notes in the melody to contradict expectations.A C7 in the progression Gø7 - C7 - Fm7, even without any indicated alterations, would be assumed tohave a b13 and b9 in the context of F minor and the key of four flats. If the melody contains a Db com-bined with an F# and An, then the composer has suggested the half-whole diminished scale rather thanthe expected fifth mode of harmonic minor.

A single note can make the difference between one sound and another. A single pitch determines majorand minor triads or distinguishes mixolydian from dorian. One significant pitch in the melody can in-dicate enormous differences in musical expectations. A C9 would typically be the V7 of F major. If F# issignificantly present in the melody, then the C9 chord is a C9#11, the tritone substitute dominant to Bminor or the backdoor dominant to D major, two completely different expectations than F major.

Major seventh chords typically function as I or IV and call for a major or lydian sound even in settingsout of the major/minor traditions. The Abmaj7 and the Gm7 chord in ex. 14.60 could be derived fromthe key of three flats as IV and iii in the key of Eb. The Dn in the melody confirms that Abmaj7 is not a Ichord. The Gm7 chord cannot be a iii7 chord in Eb because of the melody note An. The Gm7 chordmust be from the key signature of one flat (dorian) or two flats (aeolian). The most appropriate choiceis G aeolian as the change from three flats to two flats is the path of least resistance: the listener retainsthe Eb suggested in the previous measure and nothing has occurred in the Gm7 measure to change thatexpectation. Ab lydian is determined by melodic implications, the Gm7 aeolian by melodic implicationsand context.

14.60

& c œ œ œb œ œ œb œAbmaj7

.˙n ŒGm7

The same two chords occur in ex. 14.61 with different results. The Abmaj7 - Gm7 cannot be IV - iii in thekey of Eb. The Abmaj7 is confirmed to be a lydian sound with Dn in the melody. There is no A of anykind in the melody to contradict the Ab that precedes it, but the strong presence of the En in the melodyindicates that this must a be G dorian sound, which is the key of one flat. Both appropriate sounds aredetermined by melodic implications.

14.61

& c .œb Jœ œœ ‰ Jœn

Abmaj7 œ œ œ œ œ œ ‰ JœbGm7



The Dn in the melody in ex. 14.62 again confirms the lydian sound (three flats) for the Abmaj7 chord.There are no notes in the melody over the Gm7 that contradict the key of three flats so the Gm7 and Abchords could be bracketed in the key of three flats or as an Ab lydian sound followed by a G phrygiansound.

14.62

& c œ œ œb œ œ œb œ œAbmaj7 .˙ Œ

Gm7

These two chords cannot be bracketed by one sound since no key signature contains a Cm7 and an Am7chord. The Dn over the Cm7 eliminates a phrygian sound and leaves a choice between C dorian (2b) orC aeolian (3b). There are no clues within the measure to rule out one sound in favor of the other. A Bn isindicated by the Am9 chord symbol and an Fn can be retained from C dorian or aeolian, so the appro-priate sound for Am9 is aeolian (no #s and no bs). If the first scale is C dorian, which contains an An thatanticipates the Am9, then only two pitches change from the first to the second measure: the Eb and Bbchange to Bn and En.

14.63

& c .˙ œ œbCm7 .˙ Œ

Am9

A major seventh chord that begins a progression will probably sound like a I chord unless somehowcontradicted. The contradiction could be a raised fourth degree in the melody or other harmonicpointers. The Ebmaj7 in ex. 14.64 would probably be interpreted as a major or ionian sound since thereis no An to contradict that sound. An Aø7 chord follows, but the context that matters in making scale se-lections concerns sounds that precede the chord/scale in question. This could simply be a I chord fol-lowed by a iiø7 of G minor if judging by the chord symbols. The melody reveals a Bn over the Aø7which indicates an A locrian #2 sound, the sixth mode of C melodic minor.

14.64

& c œ œb œ œ œ œb œ œEbmaj7 œ .˙n

Aø7

The Am7 in ex. 14.65 must be an aeolian sound indicated by the context of the Fn in the preceding mea-sure and the Bn in the melody. Is the E7 based on the harmonic minor scale? The E7 has a Gn (#9), Fn(b9) and Cn (n13). Two scales have a #9, b9 and n13: the superlocrian (seventh mode of F melodic minor),and the third mode of C major b6. There is no Bb to indicate a superlocrian sound, so the best choicefor clarity is the third mode of C major b6. Looking for the path of least resistance confirms the choice.One note changes from third mode of C major b6 to A aeolian: the Ab to An. Two notes would have tochange from E superlocrian to A aeolian: the Ab and Bb up to An and Bn.



14.65

& c œ œ ‰ Jœ œ œ œE7

.œ Jœ ÓAm7

The D7 in ex. 14.66 could be a lydian dominant sound (fourth mode of A melodic minor) with the n13and #11 in the melody. The F7 has the same chord tones in the melody and could also be lydian domi-nant (fourth mode of C melodic mode.) Another alternative is to bracket the D7 and F7 with a half-whole diminished scale which is suggested by the two chord symbols and the melodic material. The D7(D - F# - A - C) plus the F7 (F - A - C - Eb) plus the melody notes (G#, B and F#) create the scale: D - Eb - F- F# - G# - A - B - C - D. The E7, with the b13 and b9 could be the fifth mode of harmonic minor or thethird mode of C major b6. An E superlocrian might sound odd with a Bb since the two preceding mea-sures and the final measure contain a Bn. The Am7 follows an E7 with a b9 (Fn) and with Bn in themelody, so it must be aeolian.

14.66

& c .œ jœ œ# œ ‰ JœD7 .œ Jœ œ œ ‰ Jœ

F7 ˙ œ œ ‰ JœE7 .œ jœ Ó

Am7

The Bn in the melody indicates the Fmaj7 is a IV chord or a lydian sound (no sharps and no flats) andnot a I chord in ex 14.67. The Dm7 must be dorian with the Bn in the previous measure and the En in themelody. Both chords can be bracketed with the key signature of no sharps and no flats.

14.67

& c ˙ œ œ ‰ JœFmaj7 .˙ Œ

Dm7

A D7 with a b9 in the melody might indicate the fifth mode of harmonic minor, but the Bn suggests someother sound may be more appropriate. Two scales have a b9 and n13: half-whole diminished and the fifthmode of G major b6. None of the more unusual alterations associated with half-whole are present, so Gmajor b6 is the logical choice. The Gmaj7 should be G major scale: no listener would expect the Eb tocarry over, and there is no Eb in that measure.

14.68

& c ‰ jœ œb œ œ œ ‰ JœD7 .˙ Œ

Gmaj7

The chord symbol and melody identify Db lydian augmented (third mode of Bb melodic minor) as thescale sound for Dbmaj7#5 in ex. 14.69. The chord symbol and melody indicate lydian dominant (fourthmode of Db melodic minor) for the Gb9#11. F aeolian can be inferred from the context and the melody:the Db in the previous measures rules out F dorian, and the Gn in the melody rules out phrygian.



14.69

& 43 œ œb œDbmaj7#5

œ œb œbGb9#11

œb ˙nFm7

The first Dm7 in ex 14.70 could be aeolian or dorian as there is no Bn or Bb to make a determination.The Ebmaj7 must be lydian (2bs) in the context of chords and melodic line containing An. The secondDm7 with the 9 (E) in the chord symbol and the Bb in the previous measure suggests D aeolian (1b) andso that may be the best choice retrospectively for the first Dm7. The Dbmaj7 should be treated with aslydian (4b) as there have been Gns in the preceding measures.

14.70

& 43 œ œ ‰ Jœ ‰jœ

Dm7

˙b œEbmaj7

˙ œDm9

.˙Dbmaj7

The Cn in the melody and the F# implied by the chord symbol indicates E aeolian in the first measure ofex. 14.71. The An, a scale tone of E dorian, is not canceled so Eb lydian (2b) is the logical choice for thesecond measure.

14.71

& c œ ‰ Jœ œ œ ‰ JœEm9 .˙Ebmaj7

The Eb chord in the first measure of ex. 14.72 must be lydian with the An melodic note. A Gm7/C chordsymbol always indicates mixolydian (a ii7 chord over a dominant bass note). Since C mixolydian pre-cedes the Fmaj7, they can logically be grouped into the same key signature of one flat.

14.72

& c Œ œb œ œ œ œEbmaj7

œ ˙ œ œGm7/C

˙ ÓFmaj7

When Ebmaj7 is followed by Abmaj7, as in ex. 14.73 they sound like the I and IV chords in the key of Eb.The D7 to Gm7 could be treated traditionally like a V7/vi to vi so that the D7 could be the fifth mode ofharmonic minor. Other options for the D7 chord include the third mode of Bb major b6 which has theAn which anticipates the D7 measure, or D superlocrian (seventh mode of Eb melodic minor) which re-tains the Ab from the previous measure.



14.73 Bert Ligon: Excerpt from Ouzel Falls

& 43 œ œb œEbmaj7

œ œb ‰ jœnAbmaj7 .œb .œ#

D7

œ ˙Gm7

The following composition utilizes several sounds not available from the major or harmonic minorscales. The Ebmaj7#5 and Dbmaj7#5 chords are Lydian augmented (third mode of C and Bb melodic mi-nor) with the augmented fourth and fifth degrees present in the melody. The Dø7#2 is locrian #2 (sixthmode of F melodic minor). The C7susb9 could be a phrygian mode or retaining the An from the previ-ous two measures, continue the Bb melodic minor making that measure C dorian b2. The chord symbol,C7 with the b5 and b9, calls for C superlocrian (seventh mode of Db melodic minor) in m.8. The chordsymbol, Fmmaj7, and En in the melody indicate F melodic minor in m.9. F melodic minor continuesthrough mm.11-12 over the Bb9#11 lydian dominant chord. The Am9 chord symbol and the previous Fnmakes mm.12-14 A aeolian. In this context, the Bb chord over the A bass note must be A phrygian. Thissixteen measure phrase used four different melodic minor scales: C, F, Bb, Db melodic minor.

14.74a Bert Ligon: First section of Silhouette

& 431

œ œ œEbmaj7

#5˙ œ œ .œ jœ œ

Dø7#2

.˙

&5

‰ œ œb JœDbmaj7

#5œb œ œ ‰ jœ ˙b ‰ jœ

C7susb9

œ. .œb Jœ

C7b9b5

&9

œ œb œ œFmmaj7

˙ ‰ œ œ œ œ ‰ jœ ‰ jœBb9#11

œ œ œ

&13

œ. œ œ œ

Am9

˙ ‰ jœ .˙Bbmaj7/A

œ Ó

The B section of Silhouette begins with an Fmaj7#5 chord indicating F lydian augmented (third mode ofD melodic minor), which leads to F#m7 aeolian. The Fmaj7#5 chord sounds convincing as a chordpointing to F#m. This is because C#7, the dominant of F# minor and its altered sound, superlocrian, is arelative of Fmaj7#5 sharing the same D melodic minor scale.

The chord that follows the next Fmaj7#5 chord is Dmmaj7 so the D melodic minor carries through bothmeasures. The D melodic minor will not work for the Fmaj7#5/Bb chord. The Bb has canceled the Bn, sothis must be the sixth mode of D harmonic minor. The D harmonic minor continues through theEø7/A chord.



14.74b Bert Ligon: Second section of Silhouette

&17

.˙Fmaj7#5

4œ œ œ# œ .˙F#m9

œ œ# œ

&21

œ œ œ#Fmaj7#5

œ .œ jœDmmaj7

.˙Fmaj7#5/Bb

˙ ‰ œ œEø7/A

&25

.˙Cmmaj7

4œ œ œ œ .˙Ab9#11

œ œ œb

&29

œ œ œF9#11

œ .œ jœAbmaj7

#5

œ Œ œC/G Dø7/G

.˙

IMPOSITIONS over TRADITIONAL FRAMEWORKS

Conscientious improvisers develop the skills to identify and accurately reproduce what the composerand musical situation calls for. With some experience, personal choices from the long list of possibili-ties may be imposed over traditional frameworks.

The following is a typical progression in the key of Bb major. All the chords are derived from the majorminor system. The G7 is a secondary dominant of C minor, calling for C harmonic minor, but all otherchords are from the Bb major scale. This progression will be used as a simple framework over whichother colorful sounds will be applied.

14.75 Traditional progression: I - IV - iii7 - V7/ii - ii7 - V7 - I

&

?

bb

b b

c

c

wwwBbmaj7

ww

wwwEbmaj7

ww

wwwDm7

ww

wwwbnG7b9

ww

&

?

bb

b b

wwwCm7

ww

wwwF13

ww

wwwBbmaj7

ww

wwwww



In ex. 14.76, the IV has been replaced by an Eb lydian dominant (fourth mode of Bb melodic minor)which changes it to a tritone substitute dominant pointing to the iii7 chord Dm7. The Dm7 has been re-place by a Dø7 (iiø7/ii) which creates a stronger pull to the G7 chord. The G7 chord suggests theslightly more colorful third mode of Eb major b6 or superlocrian (seventh mode of Ab melodic minor)instead of the fifth mode of harmonic minor. The G7 still points to the ii7 chord Cm7. The F7 chordsuggests third mode of Db major b6 or superlocrian (seventh mode of Gb melodic minor) which mirrorsthe G7. This altered F7 points to Bb minor, not Bb major, which makes the resolution back to the key ofBb major more powerful.

14.76

&

?

bb

b b

wwwBbmaj7

ww

wwwbEb9#11

ww

wwwbDø7

ww

˙n ˙bG7b13

#9G7b13

b9

ww

&

?

bb

b b

wwwbCm9

ww

˙bb ˙bF7b13

#9F7b13

b9

ww

wwwBbmaj7

ww

wwwww

Ex. 14.77 begins and ends in Bb major with many substitute colors in between. An A7 chord is in place ofthe IV chord Eb acting as the dominant pointing to iii7. The A7 chord with a 13 and #11 suggests half-whole diminished or the fifth mode of D major b6. The iii7 chord, Dm7 has been replaced by a D7#9, asecondary dominant pointing to G. The D7 could be half-whole diminished or the third mode of Bb ma-jor b6. The top four voices of the A7 moved chromatically down the D7, and continued to do so throughto the F7. The sequential treatment means that the G7 is either half-whole diminished or the fifth modeof C major b6; the C7 is either half-whole diminished or the fifth mode of Ab major b6; and the F7 is ei-ther half-whole diminished or the fifth mode of Bb major b6. The A triad over the Bb bass, with the C#and the En indicate the sixth mode of D harmonic minor. The C# and the En are non-harmonic tonesthat resolve up to the chord tones D and F, but D harmonic minor is the implied scale sound.



14.77

&

?

bb

b b

wwwBbmaj7

ww

wwwb#A13#11

ww

wwwnD7#9

ww#

wwwbnnG13#11

wwn

&

?

bb

b b

wwwbC7#9

wwn

wwwbF13#11

ww

wwwn#A/Bb

ww

wwwBbmaj7

ww

The version in ex. 14.78 begins with Bb as a I chord. The IV chord has been changed to the tritone sub-stitute dominant pointing to Dm. Eb9#11 calls for lydian dominant (fourth mode of Bb melodic minor)as would the A7 alt. dominant for which it substitutes. The Dm7 has been changed to a secondary domi-nant that points to G minor. With the b13 and #9, Bb major b6 is indicated. A D superlocrian might beused, but there is no Ab indicated by the chord symbol or the previous context. The original G7 hasbeen replaced by its tritone substitute dominant Db9#11, indicating Db lydian dominant (fourth mode ofAb lydian dominant). Gb9#11 is the tritone substitute dominant for C7, and either dominant calls for Dbmelodic minor. F7 has been replaced by its tritone substitute dominant, B9#11, and calls for F# melodicminor. The final resolution has been brightened with the addition of the En, indicating Bb lydian ratherthan the expected Bb major.

14.78

&

?

bb

b b

wwwwBbmaj7

w

wwwwbEb9#11

ww

wwwD7b13

#9

ww#

wwwwbDb9#11

wwb

&

?

bb

b b

wwwbGb9#11

wwwbb

wwwn##B9#11

wwwnn#

wwwwnBbmaj7

#11

www

wwwwwww



The progression in ex. 14.79 is a sequence: iiø7/iii - V/iii7 - iiø7/ii - V7/ii - iiø7/i - V7/i - I. Each of theiiø7 chords have the #2 added indicating locrian #2 (sixth mode of melodic minor). Each dominant,with the 13 and #11 are half-whole diminished. The final chord is the brighter Bb lydian.

14.79

&

?

bb

b b

www#Eø7#2

wwwn

wwwbbA13#11

www#

wwwnDø7#2

wwwbwww##n

G13#11

wwwn

&

?

bb

b b

wwwnCø7#2

wwwbwww#n

F13#11

www

wwwnBbmaj7

#11

www

wwwwww

A number of different possibilities are shown below that may be combined over a traditional pre-domi-nant - dominant - tonic progression. The chords in column one do not necessarily connect to all thechords in column two. For instance, the Bb9#11 as backdoor dominant is typically preceded by a IV(Fmaj7) or a ii7 (Dm7), and rarely if at all preceded by the secondary V7 chord D7.

PRE-DOMINANT DOMINANT TONIC

Dm7 (2nd of C major) G7 (5th of C major) Cmaj7 (C major)Dø7#2 (2nd of C major b6) G7 (5th of C h.m.) Cmaj7#11 (Lydian)

Dø7#2 (6th of F m.m.) G7 (5th of C major b6) Cmaj7 #11 #9 (6th of E h.m.)D7 as Secondary dominant (5th

of G major or G minor)G7 (3rd of Eb major b6)

D7 as Secondary dominant (3rdof Bb major b6)

G7 (7th of Ab m.m.)

D7 as Secondary dominant (7thof Eb m.m.)

Db7 (4th of Ab m.m.)

Ab7 as tritone substitute domi-nant

(7th of Eb m.m.)

G7 (5th C m.m.)

D7 or Ab7 (1/2W) G7 or Db7 (1/2W)G9#5 (WT)

Fmaj7 (4th of C major) Bb9#11 as backdoor dominant(4th of F m.m.)

Fm7 (borrowed iv chord)



WARNINGS

These modes and scales will provide a number of different colors available for chords in commonprogressions. They do not necessarily replace the traditional sounds, nor are they inherently better,“hipper” or more jazz-like. They only enlarge the tonal palette. As new sounds are learned, remember toconsider a musical context when applying the sound. Avoid arbitrary, thoughtless application. Avoid thetemptation to always use any one sound for a specific chord. With nine possible sounds for a dominant,it makes little sense to use superlocrian or half-whole exclusively. If the diminished scale is used in allpossible places, then its chance of surprising a listener is reduced. Strive for a balance between anumber of different approaches from traditional key center generalization and specificity and the use ofspecial colorful scales. Any new scale will brighten or darken the musical context, so use the new soundaccording to the desired consequence. Avoid the temptation to use a new sound in every opportunity.Use colorful substitute sounds to surprise the listener; but remember that their effect can be diminishedby overuse.

Even though a different scale sound can be applied to each chord in a succession of chords, avoidcompartmentalizing each separate chord. Find the connections. Emphasize tones in common. Find theone or two notes that change and aim for those connections between the chords. Voices derived fromsubstitute scales will follow traditional voice-leading principles and have melodic implications.

There are many more examples and pages of exercises for many of these scale and chord sounds in thebook, Comprehensive Technique for Jazz Musicians.

370 Chapter 15 Extended Tertian Structures & Triadic Superimposition


XV. EXTENDED TERTIAN STRUCTURES

& TRIADIC SUPERIMPOSITION

The tertian triad has been the building block for harmony and melodic invention for most of the his-tory of tonal music. A triad can be any three notes, but a tertian triad is built in consecutive thirds. Mostformal theory classes deal principally with the tertian triad and discuss the seventh chord which addsone more extension of a third. Many texts acknowledge that chords could theoretically be built by ex-tended thirds past the triad to include the chords like 1-3-5-7-9, 1-3-5-7-9-11, and 1-3-5-7-9-11-13. Thesechords are often dismissed as dubious and irrelevant. These extended tertian structures have beenaround for a long time in contemporary music and jazz and should be discussed as we enter the twentyfirst century.

There are two ways of expressing the same seven notes: as a scale (1-2-3-4-5-6-7-1); and as a extended ter-tian chord (1-3-5-7-9-11-13). This means that a scale and a chord represent the same thing: chord =scale; scale = chord. When discussing the notes, scale positions will be referred to by the numbers 1-2-3-4-5-6-7; chord tones will be referred to by the numbers 1-3-5-7-9-11-13. Scale tones 2-4-6 correspond tochord tones 9-11-13.

Extended tertian structures are sometimes referred to as triadic superimposition. In a way, all extendedtertian structures are made up of triads added to triads. An CEG chord above an ACE chord becomesthe seventh chord ACEG; a GBD above an ACE chord becomes an eleventh chord ACEGBD; and so on.

NOTATION SHORTHAND

All chord symbols used in pop music and jazz are shorthand in place of the written notes on a staff. Theaddition of superimposed triads and extensions can lead to a string of alterations following the basicchord symbol. The result can be confusing and messy on the page. The shorthand version is no longershort. The resulting chords constructed by superimposing triads may be better understood as a poly-chord and will often be labeled as one chord over the other separated by a horizontal line. The hori-zontal line indicates that the lower note represents a triad or complete chord itself and not just a bassnote. The normal slash indicates a chord over just the bass note. Care should be taken on handwrittenmusic if this distinction is to be understood. The chart below indicates the difference in the slash andthe horizontal line.

CHORD SHORTHAND MEANING

Slash chords F/G F major triad over a G bass note

Dm7/G Dm7 chord over a G bass note

Polychords usinghorizontal lines

F#G

F# major triad over a G major triad

EmFm

E minor triad over a F minor triad

Chapter 15 Extended Tertian Structures & Triadic Superimposition 371


To find the upper tertian extensions of any chord, continue adding thirds within the key signature. Notall upper extensions are musically useful in every situation. Experimentation and listening will help de-termine the best usage. Extended tertian melodies are more colorful. Improvisers will often maintain thedensity introduced by these upper extensions by linking the upper structure of one chord to the upperstructures of the next.

The examples below will illustrate several possible extended tertian structures, their sources, possibleformulas and applications. Tertian extensions must be added to the aural and theoretical vocabulary ofa jazz student. The connections of upper tertian extensions should be examined through harmonic pro-gressions. The upper tertian extensions often follow voice leading principles discussed in earlier chap-ters. After outlining the individual possibilities, several examples from improvisations will illustrate thelinear connections of these extended structures.

With C as a tonic chord, the following extended tertian chords are possible. A tonic I chord is seldomextended past the ninth. The eleventh is a dissonant note, and while it may sound musical in some set-tings, it prevents the chord from sounding like a tonic chord. The ninth chord sound may be created byadding a major triad off the fifth degree (in this case G) to the triad built on the root (C) of the scale.

15.1 Extended tonic I chords

& www w w wC

1 3 5

wwwww w w w w wCmaj9

1 3 5 7 9

wwwwww w

wwwwC G Cmaj9=+

A ii7 chord may be extended entirely without any real conflicting dissonance. The thirteenth, thoughpossible, is often not used over a ii7 chord. Over a Dm7 (ii7) chord, the thirteenth (B) can make thechord sound like a G7 (V7) chord since B is the note that identifies the G7. The B, at the very least, maydiminish the impact of resolving to G7. The common triadic superimposition formula is to add a majortriad on the seventh degree (C) to the basic minor triad (Dm).

15.2 Extended supertonic ii7 chord

& www w w wDm

1 3 5

wwwwwww w w w w

w w wDm13

1 3 5 7 9 11 13

wwwwww wwwwww

Dm C Dm9=+

A iii7 chord often is replacing or substituting for a tonic I6 chord in a progression. The dissonant ninthof a iii7 chord is often avoided as it blurs the distinction of the sound Since the iii7 substitutes for the Ichord, the I chord may be superimposed over the iii7. This chord is actually a C major seventh in firstinversion. The half-step dissonance in a ii7 chord is between the minor third and the ninth. In a iii7chord, with the tonic triad superimposed, the half-step dissonance is between the fifth and the minorsixth degrees.

15.3 Limited extension for a iii7 chord

& www w w wEm

1 3 5

wwwwww

Cmaj7/E



The subdominant chord, like the supertonic, can be extended to the thirteenth without encountering anydissonance which prohibits chord identification. The upper structures are very bright and colorful. Twotriads may be imposed on the basic subdominant triad: one built on the fifth degree, and one built onthe second degree of the scale.

15.4 Extended subdominant IV chord

& www w w wF

1 3 5

wwwwwww w w w ww w w

Fmaj13#11

1 3 5 7 9 11 13

wwwwww wwwww

F C Fmaj9

wwwwwww wwwwwww

Fmaj9 G Fmaj13#11+ = + =

The V7 chord may be extended to outer extreme. The only caveat concerns the fourth degree of thescale or the natural eleventh of the chord. This note is dissonant against the major third, but creates asuspension which may be desirable. A minor triad built on the fifth degree yields a ninth chord. To cre-ate a suspended dominant (as in a 4-3 suspension), an F major, Dm7 or Fmaj7 chord may be imposedover the G bass note as shown. There are those who say the major third should not be used if the sus-pended fourth degree is present. When the two notes are adjacent or when the third is placed below thefourth, it can create a vague and dissonant sonority. If the third is place well above the fourth, it canbrighten the suspended sound. This can be achieved by superimposing two triads over the root of thechord. A G triad placed over an F major triad with the G in the bass creates the last chord in the exam-ple below.

15.5 Dominant extensions for V7 in major

& www w w wG

1 3 5wwwœwww w w w w

w œ wG13

1 3 5 7 9 11 13www www wwwww

G Dm G9

wwww wwwww wwwww wwwwwww

G9sus=+

A dominant chord in a minor key will necessarily have different upper extensions than a dominantchord in a major key. A diminished triad from the fifth degree added to the root triad creates a domi-nant chord with a b9. Imposing an Fm, a Dø7, or an Ab major triad over the G suggests a suspendeddominant with a b9.

15.6 Dominant extensions for V7 in minor

& www w w wG

1 3 5wwwœwwwbbw w w w

wb œ wbG7b9b13

1 3 5 7 9 11 13www wwwb wwwwwb

G D° G7b9

wwwwb wwwwwb wwwwbb

G7susb9=+

bb

The Ab triad over a G7 may seem a dissonant choice, but can used for very expressive melodic lines.

15.7

& c œ œb œ œb œ œ œ œG7b9

˙b ÓCmG triad

Ab triad



Ex. 15.8 illustrates another use of Ab and G triads over a G7 chord. Chopin used a similar technique withthe Db and C triads over the C7 shown in ex. 15.9. The notes of the Db triad are actually just diatonic up-per neighbors to the C triad.

15.8 Bert Ligon: View from the Bridge

& 43 ‰ jœb œ œ œn œbG7b9 œ œb œ œ œb œb .˙Cmaj7

Ab triad

G triad

15.9 Chopin: Nocturne in Eb major, Op. 9, No. 2

&

?

bb b

b b b

812

812

œ œn œ œb œ œ œn œ œœb œ œ .œ œ

œœœn œœœ œ

œœœœœœœœb œœœ œ

œœ œœœ

The altered dominant (G7) and the tritone substitute dominant (Db7) are derived from Ab melodic mi-nor. Two major triads (Db and Eb) and one minor triad (Ab minor) can be found in the Ab melodic mi-nor scale. Imposing the Db triad over the G7 generates a G with a b5 and b9; an Eb generates a G7 with a #9and b13; and an Ab minor generates a G7 with a b9 and a b13.

15.10 Extended tertian structures for G7 superlocrian (altered) & Db7 lydian dominant:

Db Eb AbmG7 G7 G7

&˙˙bbbbb œb œ œb œb

œb œ œb

(R) 3 5 7 9 #11 13

˙˙bbbb œb œ œb œb

œb œ œb

b5 7 b9 (3) b13 (R) #9

wwwwwbb

G7b9b5 wwwwwwbb

G7b13

#9wwwwwwbbb

G7b13

b9

Four different major triads can be extracted from the half-whole symmetrical diminished scale. The fourtriads can be imposed over a dominant seventh chord. The G triad over a G7 adds no new color. A Bbchord includes the fifth and the seventh and adds the Bb, the #9 over G7. An E triad includes the thirdbut adds a b9 and a n13 over a G7. The Db triad provides the b5 and the b9 over a G7. These chords mayoccur in one of two forms of musical shorthand: shown as polychords, or notated as customary with thealterations listed. Knowing triadic superimposition formulas will assist the soloist or accompanist inproducing accurate alterations.

Knowing triadic superimposition formulas will assist thesoloist or accompanist in producing accurate alterations.



15.11 Major triads from the symmetrical diminished scale superimposed over G7:

G Bb E DbG7 G7 G7 G7

& w wb wb wn w# w w w w wwwwww

G7

wwwwwwbn

G7#9

wwwwww#G13b9

wwwwwbbG7b9b5

The upper extensions of a iiø7 chord resemble a bVImaj7 chord in minor. The Abmaj7 and Dø7 bothpoint to the V7 (G7) of C minor and are often interchangeable in traditional progressions. The Dø7#2 isshown as a combination of C major triad over a D° triad. The C major triad emphasizes the brightraised second degree and the eleventh.

15.12 Extensions of iiø7 chords

& wwwwwwbb w w wb w

wb wDø7

wwwwbwwwwbb

Dø7 Abmaj7 wwwwwwnb w w wb w

wn wDø7#2

wwwbwww wwwwwwb

D° C Dø7#2+ =

Two examples from improvisations by Tom Harrell illustrate the interchangeable iiø7 and bVI in minor.The chord symbol indicates a Gø7 (iiø7 of F) but Harrell seems to have outlined a Dbmaj7 chord. TheDb-F-Ab-C could be considered the upper extensions of the Gø7 chord or an example of a substitution.In the second example, the chord symbol indicates an Fmaj7, but the melodic line suggests outline no. 1or no. 3 over a Bø7.

15.13 Gø7 (iiø7) or Dbmaj7 (bVI)?

& c ‰ Jœ œb œb œ œb œ œb œGø7 œ œ œ œ# œ œb œ œb

C7b9

jœbFm

15.14 Fmaj7 (bVI) or Bø7(iiø7)?

& c œ œ# œ œ œn œ œFmaj7

œ# œ œ œ œ œ œœE7

b9˙Am



Two excerpts from improvisations by Bill Evans illustrate the upper extensions of a iiø7 chord. Thebracket indicates the Eb major triad superimposed over the Fø7, creating a Fø7#2 in the first example.The C triad over the Dø7 creates a Dø7#2, shown by the brackets in the second example. Anotherbracket shows the Ab minor imposed over the G7 that supplies the b13 and b9.

15.15 Eb + F° = Fø7#2

& c œb œ œb œ œb œb œœbFø7

15.16 C + D° = Dø7#2 Ab minor over G7

& c œb œ œb œ œ œ œ œDø7 œb œb œb œb œb œb œ œ

G7b13

#9jœ

Cm

The whole-half symmetrical diminished scale yields four major triads that may be superimposed overdiminished chords. The root of each of these major triads adds a color tone that is a whole step aboveone of the fundamental diminished chord tones. Take care when applying these triad superimposition(and all other impositions) as some of the extra color tones may clash with the surrounding harmonicenvironment. The B triad over the F#°7 may sound wildly inappropriate in the context of G minor, un-less surprise is the goal, then it may be the perfect choice.

15.17 Major triads from the symmetrical diminished scale and superimposed over F#°7:

D F Ab BF#°7 F#°7 F#°7 F#°7

&

?w w wb w w# w# w w w

w w wb w w# w# w w wwww#

wwwwb#

www

wwwwb#

wwwbb

wwwwb#

www##

wwwwb#

Some interesting extended chords can be generated from the fourth mode of a major scale with a b6.The fourth mode of G major b6 is shown below with possible upper triadic extensions. The G major triadover the C minor creates a Cmmaj7 that could also have been derived from the melodic or harmonicminor scale. The B minor triad over the C minor is a haunting sound unique to this scale yielding a ma-jor seventh, ninth and a #11. The B triad yields the major seventh and #11, and enharmonically dupli-cates the minor third. A D triad adds the n13. The full tertian extension from this scale creates an enig-matic Cmmaj13 #11. Many of these specialty chords may not be on the fingertips of all players so forsuccessful performances and rehearsals it may be useful to write the desired voicings on the staff and/orprovide some polychordal shorthand notation as a formula.



15.18 Extended chords derived from the fourth mode of G major b6:

Fourth mode of G major b6: Cmmaj7 Bm B D Bm7C m C m C m C m

&

?w w wb w# w w w w

w w wb w# w w w w

www

wwwbwww#wwwb

www##wwwb

www#wwwb

www#wwwwb

A major seventh chord can be built on the sixth degree of harmonic minor. If the upper extensionsfrom harmonic minor are used a major triad is available from the major seventh of that VI chord. Thesixth mode of E harmonic minor is shown below. The B major triad over the C major creates a C majorseventh chord with the unusual #9 and #11, notes more common over chords with a dominant seventh.

15.19 Extended chord derived from the sixth mode of harmonic minor:

E harmonic minor Cmaj7 #9 #11 or BC

&

?w w# w w# w w w w

w w# w w# w w w wwww##www

This major seven chord with a #9 and #11 can be heard at the end of the common introduction to’Round Midnight as a D triad over an Eb. Another version of this chord dates to 1913 from the infa-mous Stravinsky ballet, Rite of Spring. It is interesting that one of the more modern chords of the twen-tieth century used all the notes from an old-fashioned Ab harmonic minor scale.

15.20 Stravinsky, Rite of Spring

Eb7 over Fb chord: Built using all the tones of the Ab harmonic minor scale

&

?

bb b

b b b

42

42œœœœb œœœœ œœœœ œœœœœœœœbbb œœœœ œœœœ œœœœ

œœœœb œœœœ œœœœ œœœœœœœœbbb œœœœ œœœœ œœœœ

˙b ˙b ˙b ˙b ˙b ˙b ˙n ˙b



The six tone augmented scale is actually an augmented triad plus the leading tones to each chord tone,so the augmented scale contains two adjacent augmented triads. When one is placed above the other itcreates a chord best labeled as a polychord. The B augmented chord is spelled enharmonically toavoid the F double sharp. The chord could be labeled a Cmaj7 (#5 #9 n5), but it is doubtful that a per-former would easily arrive at this desired chord. If a chord like this is desired, it may be best to label itas a polychord as shown or write the notes on the staff.

15.21 Polychord created from augmented scale

B aug.C aug.

&

?w w# w w wb w w

w w# w w wb w wwwwbwww#

“Melody is what the piece is about.”Aaron Copland

“Melody is the very essence of music.”Mozart

In real musical settings, the chords are rarely isolated as shown in the previous section. It is one thing toknow formulas for arriving at certain sounds, but is more important to develop the skills to apply themin context of creating melodic lines. Jazz improvisers create lines that link one chord to the next main-taining the colorful density of the upper tertian extensions. In most of these examples, the lines followvoice leading principles outlined in chapter 11, and most often follow close position voicings. This sec-tion will present excerpts from the improvisations of well-known artists illustrating some ways of usingand connecting the upper extensions of basic chords. More examples and exercises for developing theunderstanding and use of these extensions can be found in Comprehensive Technique for Jazz

Musicians in chapter 8 (Triadic superimposition), chapter 10 (Extensions and Connections) and chap-ter 14 (Developing Jazz Exercises).

Sonny Rollins is known for his use of motivic development in his improvisations, but displays under-standing of voice leading and upper extensions in ex. 15.22. The chord symbol indicated simply a G7for the first measure, but Rollins implied much more. The F-A-C-E in m.1 implied either the 3-5-7-9 ofDm9 or the 7-9-11-13 of the G7, as Dm9 over a G creates a suspended dominant. Rollins moved thethree top voices down chromatically: the E to Eb, the C to B, the A to Ab. This chromatic motion fol-lowed voice leading principles assuming the first half of the measure is Dm9. The E is the ninth of Dm9and resolved to the b13 of G, a substitute for the fifth (9-5); the C is the seventh of Dm7 and resolved tothe third of G (7-3); and the A as the fifth of Dm resolved to the Ab, the b9 of G (5-9). The F would be ex-pected to remain and ultimately resolve down to the E over the C chord, but Rollins moved the F up toF#. By using the F#, the resolution to G was stressed by the chromatic approach from above (A-Ab-G) andbelow (F-F#-G). The harmony implied by this line is shown to the right of the example.



15.22

& c œ œ œ œ œb œ œb œ#G7

œ œC ˙ ˙˙bb wwww

The upper structures were arpeggiated in this excerpt from Hank Mobley. Mobley played the triadpitches for the Dm7. The A, fifth of Dm, resolved to the b9 of G, and then Mobley arpeggiated an Ab mi-nor triad over the G7 which yielded the b9, third and b13. It is interesting that the Dm triad is followed byan Ab minor triad, two chords separated by a tritone and yet the connection is smooth. The upper threevoices resolved down chromatically predictably: Eb to D (b13 for 5-9), Cb or B to Bb (3-7), and Ab to G (9-5). The resolution of D to Db implied a similar structure for the F7 as was used for the G7. The connec-tion between a dominant and the tritone substitute dominant is clear from this example. The Ab minortriad over the G7 (b9-3-b13) would be the chord tones 5-7-9 of the Db7, the tritone substitute for G7. Thechords to the right show voicings implied by these passages.

15.23

& c œ œ œ œ œbœb œb œ

Dm7 G7 œ œb œ œb ˙bCm7 F7 ˙ ˙˙bb ˙bb ˙˙bb wwww

Kenny Dorham clearly arpeggiated each chord in the following excerpts. The F-Ab-Cb-Eb over the G7 arethe 7-b9-3-b13. These pitches may be easier as the 3-5-7-9 of Db7, the tritone substitute for G7. Dorham al-ternated ascending and descending arpeggios through the passage. Because the arpeggios moved downchromatically, the implied harmony is Bb - Db9 - C9 - B9 - Bb, with the Db9 and the B9 as tritone substi-tutes for G7 and F7. The chords to the right show voicings implied by this passage.

15.24

& c œb œ œ œ œb œb œb œBb G7 œ œb œ œ œ œb œb œ œb

C7 F7 œBb ˙˙bbn ˙bb ˙˙bb wwww

These two fragments are mirror images. The first is from Kenny Dorham; the second is the inversionfrom Joe Pass. All the voices resolve logically. Is it easier to hear and think of the second chord as F7 orB7 ?

15.25

& c œ œb œ œ œb œb œ œbC7 F7 œB

b˙b ˙˙bbb wwww

15.26

& c œ œ œb œ œb œ œb œbC7 F7

œBb

˙b ˙˙bbb wwww



The Bbm7, in ex. 15.27 from one of the better known bebop melodies, was arpeggiated 1-3-5-7-9-11, thenthe Bbm7 chord tones occurred again over the Eb7 (3-5-7-9 of Bbm7). A descending line was implied atthe top of the line shown by the circled notes. Other voices resolved internally: the Ab to the G (7-3), theF to Eb to Db which finally resolved to C, the third of Ab. The line then arpeggiated the 3-5-7-9 of the Abchord. This excerpt implied the voicings shown to the right.

15.27

& bb b b œ œ œ œœ œ

Bbm7 œ œ œ œ œn œ œ œEb7

œ œ œ œb œAbmaj7

wwww wwwwn#n wwwwbb

Kenny Barron used the descending arpeggios of these chords and symmetrical rhythms which made thevoice leading easy to see and hear in this excerpt. The chords to the right show voicings implied by thispassage. Listen to the chromatic resolution of the top three voices.

15.28

& bb b b b c œ œ3œ œ œ œn œ

3

œ œn œ#Ab7 œ œ 3

œ œ œ œ œ œ œDbmaj7 ˙ ˙n#n wwwwbnb

The chord symbol in m.1 is F#ø7. Bill Evans arpeggiated what appears to be a Cmaj9 chord. WhetherEvans was thinking Cmaj7 as a substitute for F#ø7 or utilizing the upper tertian structure of the F#ø7 chordis irrelevant as either can point to the B7 chord. Only one note changed in m.2: the E (seventh of F#ø7)resolved to Eb, the enharmonic spelling of the third of B7. The G and C supplied the b13 and b9 of theB7 chord. The four voices moved down a step for the arpeggio in m.3 utilizing the 5-7-9-11 upper struc-ture of the Em9. If the B7 is considered an F7, as a tritone substitution, then the line incorporated the 5-7-9-11 of each chord in the passage as shown below on the right. This passage works melodically withany combination of these chords: F#ø7 or Cmaj7 — B7 or F9#11 — Em9.

15.29

& 43 œ œ œ œœ œF#ø7 œ œ 3œb œ œ œ

B7

‰ Jœ3œ# œ œ œ œ

Em7 .....˙¿

.....˙¿b

.....˙¿#

There are several common harmonic cycles that lead back to the tonic as shown in ex. 15.30-31 with ex-tended tertian structures. Knowing these upper structures and being able to hear the chromatic and stepmotion between each voice will assist the creation of interesting lines through these progressions. All ofthe inner voices move smoothly either remaining on the same pitch, or moving by step down to thenext pitch. Play the passage several times on the piano singing each voice to hear its individual pathway.Lines can easily be created using large arpeggios, arpeggio fragments and implying individual voicesfrom these passages. The upper structures mimic the voice leading from the Evans example in ex. 15.29.

This progression is based on iiø7/iii - V7/iii - iii7 - V7/ii - ii - V7 - I. Extensive colorization has beenadded. The F#ø7 chord will not sound like a iiø7 of Em with addition of the #2 (G#). The addition of thebright F# means the Em in m.3 cannot be a iii7 chord in the key of C. The altered G7 implies a V7 of Cminor with the b13 (Eb) and b9 (Ab). Extending the Cmaj7 chord to the #11 brightens the sound beyond anormal resolution to major, especially following the dark altered G7 chord. In the mm. 2, 4, and 6, the



dominant bass note is changed to the tritone substitute note on the third beat. Is there a profound dif-ference? The extensions of the tritone substitute dominant chords are more easily labeled: 3-5-7-9-#11.

15.30

&

?

wwwww#

F#ø7#2

w#

wwwwwnb

B7

#9b13

˙ ˙n

wwwww#

Em9

w

wwwwwnbb

A7

#9b13

˙ ˙b

wwwww

Dm9

w

wwwwwbbb

G7

#9b13

˙ ˙b

wwwww#

Cmaj7#11

w

This passage is similar to the one above with some additional colorizations. The second chord is notthe V7 of iii7 but a borrowed iv7 chord and Eø7#2 and Dø7#2 are used instead of Em9 and Dm9.

15.31

&

?

wwwww#

F#ø7#2

w#

wwwwwbbnbFm9

wn

wwwww#b

Eø7#2

w

wwwwwnbb

A7

#9b13

˙ ˙b

wwwwwb

Dø7#2

w

wwwwwbbb

G7

#9b13

˙ ˙b

wwwww#

Cmaj7#11

w

Melodic lines like the previous Evans example and the line below can be sequenced through the twoprevious harmonic cycles.

15.32

& c Œ œ œ# œ œ œ œ#F#ø7#2 œ œn œb œ œ œ œ œ

B7

#9b13 œ œ# œ œb œ œ ŒEø7#2

The following melodic excerpts are based on the following harmonic framework. The second chord maybe considered C7 with a b13 and a b9, or its tritone substitution Gb9 (3-5-7-9-#11).

15.33

& c wwwwwb w

wwwwbbnb wwwww

C7Gm7 Fmaj7



In ex. 15.34 and 15.35 from a blues improvisation, pianist Tete Montoliu played the ascending 3-5-7-9-11Gm arpeggio into the C7 measure. The A resolved to Ab suggesting a C7b13. The Ab resolved to the Gover the F. The use of extended arpeggios lifts the melodic line into higher registers.

15.34

& c œ œb œ œ œ œ œ œGm7

œ œ œ œ œb œ œ œbC7

œF

15.35

& c ‰ jœ3œ œ œ

3

œ œ œb3

œ œ œGm7

3

œ œ œ3

œb œ œ œ œ# œC7 œ3

œ œ œ œ œF

In ex. 15.36, Montoliu played a descending Gm9 arpeggio and then an extended arpeggio over C7. Thenotes in the final measure are the b7, b9, 3, b13 root and #9 of C7 but may be easier to hear and under-stand labeled as the 3-5-7-9-#11-13 of a Gb9#11, the tritone substitute dominant for C7.

15.36

& cœ œ œ œb œ œ œ œ

Gm7

œb œb3

œn œb œ3

œb œ œC7

Do not assume that these wide ranging extended arpeggiated lines from the previous examples are onlysuitable for pianists. Tom Harrell used a wide range of the trumpet over Gm7 in these two fragments.Harrell played 1-3-5-7-9-11 arpeggio in the first and again in the second in two different octaves.

15.37

& c Ó œ œ#3

œ œb œGm7 œ œ œ & c œb œ

3

œ œ œ œ œ œb œGm7 œ œ œ œ œ Œ

Practicing a passage like this using extended arpeggios helps prepare a musician to play, hear and un-derstand these structures. Inventiveness may lead to the creation of lines like the ex. 15.39 from BillEvans. Evans matched the voice leading of ex. 15.38, but in a more melodic and less predictable fashion.The resolution to the E7 (or Bb7) did not occur until beat three of the second measure.

15.38 Practicing arpeggios like this can lead to lines like 15.39

& œ œ# œ œ#œ œ œ œ

Bm9

œ œn œb œnœ œ œ œ œ

E7

#9b13 Bb9#11


Am9

wor



15.39 Practicing arpeggios like 15.38 can lead to lines this

& c ‰ jœ œ# œ œ#œ

3

œ œ œBm7

œ œ3

œ# œ œ# œn œn œb œE7

œ œ œ œ œ œAm

wwwww## wwwwwb w

wwww

TRIADIC SUPERIMPOSITIONS: FORMULAS & EXAMPLES

Music worldwide is based on triadic shapes, which may be related to the presence of the major triad inthe overtones series. Since listeners have been inundated with triadic melodies from childhood, folksongs, patriotic and religious holiday music, they are often more receptive to melodies using these fa-miliar sounds. The central concept from chapter four was using the tonic triad to generalize the har-mony for larger sections of the piece. Major triad shapes can be superimposed as extensions and upperstructures to chords supplying essential color tones and alterations. Just as importantly, these musicalshapes provide a bridge to something familiar not only for the listener, but the performer.Inexperienced improvisers often have trouble hearing an altered dominant sound when it is introducedas a scale. They can usually hear a major triad. The familiarity with triads can be used to acquaint stu-dents with more complex sounds. Playing an Eb major triad without accompaniment will attune the earsto the familiar sound. The same triad can be played in the context shown below over a G7 to Cm pro-gression. The melodic shape is familiar and not difficult to play or hear. The passage can be filled inwith passing tones between the Eb major chord tones without technical or conceptual difficulty. This fa-miliar material based on a major triad yields the colorful b13, b9 and #9 over the G7 and resolves to thethird of Cm.

15.40 Eb triad shapes over a G7

& œb œ œb œ œG7

#9b13

˙ ÓCm

œb œ œ œb œb œ œ œG7

#9b13

˙b ÓCm

b13 #9 b13 b9 #9

The chart on the following page reviews some of the possible major triads that may be superimposedover common chords. Column one indicates the fundamental chord types shown with C as the root;column two the interval above the root on which the superimposed major triad is built; column threeindicates the superimposed triad; and column four shows the color tones provided by the superimposedmajor triad.



BASIC CHORD

INTERVAL ABOVEROOT for

SUPERIMPOSEDTRIAD

MAJOR TRIAD YIELDS

C major P5 G 5 – M7 – 9C major M2 D 9 – #11 – 13C major M3 E 3 – #5 – M7C major M7 B M7 – #9 – #11

C minor m3 Eb m3 – 5 – m7C minor P4 F 11 – 13 – RC minor P5 G 5 – M7 – 9C minor m7 Bb m7 – 9 – 11C minor M7 B M7 – (3) – #11

C half diminished m7 Bb m7 – #2 (or 9) – 11

C diminished M2 D 9 – #11 – 13C diminished P4 F 11 – 13 – RC diminished m6 Ab b13 – R – b3C diminished M7 B M7 – m3 – #11

C dominant m2 Db b9 – sus4 – b13C dominant M2 D 9 – #11 – 13C dominant m3 Eb #9 – 5 – m7C dominant d5 Gb b5 (or #11) – m7 – b9C dominant m6 Ab b13 (or #5) – R – #9C dominant M6 A 13 – b9 – M3C dominant m7 Bb m7 – 9 – sus4

This chart is for reference only. Individual sounds should be extracted from the chart and learned in thecontext of typical progressions.

The most common progression is the ii7 - V7 - I. In the key of C major, the ii7 chord could have a Ctriad superimposed yielding the 7-9-11 of Dm7. Using the C triad over Dm7 could sound like triadicgeneralization, which illustrates how musical concepts sometimes overlap and converge. Six differentmajor triads may be superimposed over the G7 chord. The example below uses an E triad that over a G7chord yields a n13, which points to C major, and a b9, suggesting C minor. As a deceptive resolution, A Bmajor triad is superimposed over the C major. The B chord sounds like the V7 of Em, the iii7 chord ofC, and the dissonant tones D# and F# resolve to the E minor chord tones E and G, which are also chordtones of C major. The line ends using an F triad over the A7 chord, supplying the #9 and b13, toneswhich point back to the D minor chord.

15.41 Progression: ii7 - V7 - I - V7/ii

Triads: C E B (Em) F

& c œ œ œ œ œ œ œDm7

œ œ# œ ˙G13b9

‰ jœ œ# œ# œ œ œ œCmaj7

œ œ œn œ ŒA7

#9b13

The progression from ex. 15.41 is transposed to the key of F major below and uses a different set of tri-ads for superimposition. The four superimposed triads chromatically ascend. A mounting tension is



caused by the alterations supplied by the superimposed triads and by the ascension of the voicingsrather than the more typical descending voice leading. The F over Gm7 furnishes the 7-9-11, or like theprevious example may be considered triadic generalization. The Gb over C supplies the colorful b5 andb9 chord tones. The G over the F creates a bright lydian sound with the #11 instead of the tonic majorsound. The Ab over D7 echoes the Gb over C7 with the b5 and b9 chord tones.

15.42 Progression: ii7 - V7 - I - V7/ii

Triads: F Gb Gn Ab

& c .œ jœ œ œ œ œbGm7

œ œb œb œb œb œ œnC7

.œ jœ œ œ œ œFmaj7

˙ œb œb œD7b9b5

œ Œ ÓGm7

A Bb triad marks the 3-5-7 of the Gm7 chord below. The Bb triad can move down a half-step to an A overthe C7 providing the colorful n13 and b9. The E over the F triad is a similar deceptive resolution to the Bover C shown before in ex. 1541, and resolves to tones of A minor over the F.

15.43 Progression: ii7 - V7 - I

Triads: Bb A E (Am)

& c œb œ œ œ œ œ œ œ#Gm7

œ œ œ# œ ‰ jœC7

œ œ œ œ œ# œn œ œFmaj7

˙

Three different triads in ex. 15.44 are used over a iiø7 - V7 - i progression in C minor. A C major triadover the Dø7 brightens the iiø7 chord in this context. The En disputes the key of C minor as an Eb wouldbe expected. The same material can be sequenced up a minor third superimposing an Eb major triadover the G7 emphasizing the b13 and #9. A G triad over the C minor stresses the major seventh andninth. There is a certain symmetry that the three triads used over this progression in C minor are C, Eband G.

15.44 Progression: iiø7 - V7 - i

Triads: C Eb G

& c ‰ jœ œn œ œ œ œ œDø7#2

œb3

œ œ œb œ œ œ œnG7

#9b13

œ œ œ œ œ œ œ œCmmaj7

.˙ Œ



Three triads could be used over this ii7 - V7 - I progression in Bb. The Bb triad over the Cm7 stressesboth the 7-9-11 of Cm and the tonic Bb triad. The D triad over the F presents conflicting alterations: theD, n13, suggests Bb major; the F#, enharmonically a Gb and the b13, suggests Bb minor. The A over the Bbdelays the resolution suggesting a V7/iii - iii or A7 - Dm resolution superimposed over the Bb.


Triads: Bb D A (Dm)

& bb œ œ œ œ œ œ œ œCm9

œ# œ œ œ ‰ JœF13b9

œ# œn œ œ œn œ œ œA/Bb .˙ Œ

Bbmaj7

Several different triads work over a dominant chord. Often, more than one triad at a time will be super-imposed over a dominant. Two triads a tritone apart accentuate the tritone substitute relationship. Thefundamental chord tones provided by the basic triad contrast with the alterations (b5 and b9) offered bythe tritone substitute triad. A sequence is created below by using the D and Ab triads over the D7 and theC and Gb triads over the C7.

15.46 Progression: V7/ii7 - ii - V7 - I

Triads: D & Ab C & Gb

& c ‰ jœ œ# œ œb œœb œD7

b9 .˙ ŒGm7

‰ jœ œ œ œb œbœb œ

C7b9

.˙ ŒFmaj7

Triads a tritone apart is not a new idea. Stravinsky used the tritone pair of C and Gb in the balletPetrouchka.

15.47 Stravinsky: Petrouchka. Clarinets: C triad over Gb. Triads a tritone apart.

&

&

42

42

Œ3

‰ ‰3œ œ œ

Œ3

‰ ‰3œb œb œb

˙

˙b

œ œ œ œ œ

œ œb œb œ œ

The triads built on the b5 and b13 of the dominant chord suggest a superlocrian scale. The triad pair ofAb and Gb furnishes all the alterations (Gb = b5, 7, and b9; Ab = b13, root, and #9) over the C7 alteredchord. The number of alterations, particularly the b13 and altered ninths, suggest a resolution to F minor.This sound can just as easily resolve to major. Below, the resolution with a G major over the F suggestsan even brighter resolution to an F lydian sound. If the tritone substitution was used instead of the dom-inant C7, the chord would be a Gb9#11.



15.48 Progression: V7 - I

Triads: Ab & Gb G

& c œb œb œ œb œb œb œ œC7 alt.

œb œb œb œb œb œ œb œn œ œn œn ˙Fmaj7

The four triads derived from the half-whole diminished can all be superimposed over a dominant. TheG, Bb, Db, and E triads imply the #9, b5, b9, and n13 over the G7. The altered ninths suggest a resolution toC minor, and the n13 implies a resolution to C major.

15.49 Progression: V7 - I

Triads: G — Bb — Db — E

& c ‰ jœ œ œ œb œ œ œbG7b9

œ œb œ œ# œ œn œ œ ˙ ÓCmaj7

Many contemporary compositions call for specific alterations. The progression below specifies a ø7#2,an altered dominant and a augmented major seventh chord. Superimposed triads will supply the re-quired additions to these chords. An F# triad over the G#ø7 supplies the 7th, #2 and the 11th; An A majortriad over the C#7 supplies both the #9 and the b13; and the Bb triad over the Gb supplies all the impor-tant chord tones, the major third, the augmented fifth and the major seventh. This excerpt from an im-provisation by Tom Harrell illustrates how the triadic superimpositions can satisfy the demands of thevery specific chord symbols.


Triads: F# A Bb

& c œ#3

œ œ# œ ˙#G#ø7#2

‰ œ œ œ# œ œ œ œ œ œ œC#7#9b13

œ œb œ œ œb œ œGbmaj7

#5A triad

Bb triadF# triad

More examples and exercises for developing the understanding and use of these extensions can befound in Comprehensive Technique for Jazz Musicians in chapter 8 (Triadic superimposition), chapter10 (Extensions and Connections) and chapter 14 (Developing Jazz Exercises).




• Invent simple triadic lines using the charts and example above, and exercises foundin Comprehensive Technique for Jazz Musicians over standard progressions.

• Listen for recorded examples of contemporary players who might use triadic super-impositions. What triads did they use? How did they contrast the triadic superimpo-sition with more traditional approaches?

• Look for contemporary compositions with very specific chord symbols and deter-mine what triads may supply the required alterations.

• Compose new music using triadic superimposition as a springboard for melodicand harmonic material.

388 Chapter 16 Pentatonic Applications


XVI. PENTATONIC APPLICATIONS

PENTATONIC APPLICATIONS

The major scale is considered the building block for music in the European western art music tradition.All other scales are described in their relationship to the major scale. Intervals in the major scale areconsidered the normal, and any others are considered alterations. A study of world music might provethat the most widely used scale is not the major, but the pentatonic scale. The pentatonic scale is some-times called the gapped scale as it is missing two notes of the major scale. (Another instance of majorscale bias). Use of the pentatonic scale did not begin in the twentieth century with Debussy and others.Many forms of pentatonic scales have been used in other cultures for melodic material for centuries.Modern jazz improvisers and composers used pentatonic scales as a basis for melodies superimposedover traditional harmonies and over modal and pedal structures. Closely associated with the use of pen-tatonic scales in jazz performance is the use of motivic devices to develop melodies from simple penta-tonic scale patterns.

There are many kinds of pentatonic scales. Any five tones could be called a pentatonic scale. The mostcommon pentatonic scale is the one shown below in the form of C major and A minor. The two formsshare the same pitches as do a major and natural minor scale. These scales can be formed by taking themajor and natural minor scales and removing the tritone (B & F). The major pentatonic includes the 1-2-3-5-6 of a major scale; the minor pentatonic includes the 1-b3-4-5-b7 of the natural minor scale. Thetriad is an important part of these scales. Many tunes based on pentatonic scales come to rest on thetriadic tones (1, 3 & 5) and use the remaining tones (2 & 6) as auxiliary tones that move to the primarypitches. Sing through a pentatonic melody such as Amazing Grace and notice how all points of rest onstrong beats are the primary triadic tones.

16.1 C major pentatonic shown with its relative A minor

& w w w w w w w w w w w w

16.2 C major pentatonic shown with its parallel C minor

& w w w w w w w wb w w wb w

Chapter 16 Pentatonic Applications 389


PENTATONIC SUPERIMPOSITION FORMULAS

Patterns and melodic material derived from pentatonic scales can be superimposed over traditionalharmonic progressions. Colorful chord tones can be emphasized by isolating simple melodic shapesand patterns from pentatonic scales.

Three different major pentatonic scales may be used over a major seventh chord. A C major pentatonicover a Cmaj7 as a I or IV supplies fundamental tones of the chord, R - 9 - 3 - 5 - 6 or 13. A G majorpentatonic superimposed over a Cmaj7 furnishes more colorful tones, 5 - 6 or 13 - Maj7 - 9 - 3, and willwork with I or IV chords. A D major pentatonic works over a Cmaj7 as a IV or a lydian sound providingthe most colorful tones, 9 - 3 - #11 - 13 - Maj7.

16.3 Major pentatonic scales over Major 7 chords

C major 7 as I or IV I or IV IV

& w w w w w wCmaj7

1 2 3 5 6(13) 1

w w w w w wCmaj7

5 6(13) M7 9 3 5

w w w# w w wCmaj7

9 3 #11 13 M7 9

Three different minor pentatonic scales may be superimposed over a minor seventh chord. The Dminor pentatonic scale supplies the fundamental chord tones and the fourth or eleventh over a Dm7chord functioning as a ii7, iii7, vi7, or a iv7. A slightly more colorful sound is achieved bysuperimposing an A minor pentatonic scale over a Dm7. It supplies the chord tones 5 - 7 - R - 9 - 11,and will work with a Dm7 functioning as a ii7, vi7 or iv7. The A minor pentatonic scale over a Dm7 isambiguous because it does not contain and F, the minor third of Dm. Dm7 is the iii7 chord in the key ofBb, so an A minor pentatonic with the En, will not work in that context. An even more vague and colorfulsound is created superimposing an E minor pentatonic scale over a Dm7, yielding the chord tones: 9 -11 - 5 - n13 - R. The En and the Bn work with a Dm7 as a ii7 or iv7, but not as a iii7 or vi7.

16.4 Minor pentatonic scales over Minor 7 chords

D minor 7 as ii, iii, vi or iv ii, vi or iv ii or iv

& w w w w w wDm7

1 b3 4(11) 5 b7 1

w w w w w wDm7

5 b7 R 9 11 5

w w w w w wDm7

9 11 5 n13 R 9

Two major pentatonic chords may be superimposed over a dominant chord. A major pentatonic builton the root supplies chord tones associated with dominants pointing to major keys: R - 9 - 3 - 5 - 13.Placing a major pentatonic on the diminished fifth of a dominant chord supplies all of the alterationsassociated with a dominant scale, but does not include the third or the root of the chord. Using this cancreate some tension that begs for release. The altered sounds typically want to resolve to minor, but mayresolve to major and very effectively to lydian.



16.5 Major pentatonic scales over Dominant 7 chords

G dominant 7 G dominant 7 fully altered

& w w w w w wG7

R 9 3 5 13 R

wb wb w wb wb wbG7 alt.

b5 b13 7 b9 #9 b5

There are other pentatonic scales used throughout the world to create melodies. Five are shown below.Not all of these scales have common names. These scales may be used to create unaccompaniedmelodies or superimposed over existing harmonic structures.

16.6Kumoi Hirajoshi Major b6 Pelog All tones flatted

(Ab sounds like tonic)

& w w wb w w w w w wb w wb w w w w w wb w w wb wb w wb w w wb wb wb wb w

The following chart illustrates how these five pentatonic scales may be used over traditional chords.

PENTATONIC SCALE RELATED SCALE USED for TRADITIONAL CHORDS

C Kumoi C melodic minor, C dorian Cm6/9, Aø7, F9, B7(#9, b9, b13), and Ebmaj7#11

C Hirajoshi C aeolian Cm and Abmaj7#11

C major b6 F melodic minor Fm6/9, Dø7#2, Bb9, E7(#9, b9, b13), & Abmaj7#5C pelog C phrygian Fm7, Abmaj7 and Dbmaj7

All tones flatted Ab mixolydian Ab7The Kumoi scale, since it is related to the melodic minor scale, can be applied to many colorful chordsassociated with modes of that scale. A ø7#2 chord (locrian #2) can use the sound of a melodic minorscale built on the third, so it can also use a Kumoi pentatonic scale built on the same pitch. An F Kumoimay be used over a Dø7 and will supply all of the fundamental chord tones plus the eleventh. Amelodic minor scale built on the b9 of a dominant chord creates an altered scale. A Kumoi pentatonicscale starting on the b9 of a dominant will supply the colorful alterations: b9 - #9 - M3 - b13 - 7.

16.7 Kumoi pentatonic scales over Dø7 & G7 altered dominant chords

F Kumoi over Dø7 Ab Kumoi over G7Dø7 as iiø7 in minor G7 as V7 in minor

& w w wb w w wDø7

wb wb wb wb w wbG7

b9 #9 (M3) b13 7 b93 11 b5 7 R 3



The Kumoi pentatonic is shown below superimposed over various types of chords built on C.

16.8 Kumoi pentatonic scale superimpositions shown for C chords:

C Kumoi over C: Eb Kumoi over C: G Kumoi over C: Db Kumoi over C: A Kumoi over C:

& w w wb w w wCm

69

wb w wb wb w wbCø7

w w wb w w wC9

wb wb wb wb wb wbC7

#9b13

w w w w w# wCmaj7#11

Several different combinations of pentatonic scales can be used over a ii7 - V7 - I progression.Interesting sequences can be created by playing a melodic shape and repeating it for each of the super-imposed modes or pentatonic scales. In the example below, a C major/A minor pentatonic mode usedover the Dm7, a Db major over the G7, and a D major over the C. The pentatonic scales move up inhalf-steps: C - Db - D, over the roots of the chords moving in descending fifths. The Dm7, with the C ma-jor pentatonic material, is somewhat bright, emphasizing the ninth and eleventh and with the absence ofthe third. The Db pentatonic over the G7 is very dark and includes all of the altered tones (b9, #9, b13, andb5). The resolution to the C major is made brighter by the use of the D major pentatonic which suppliesthe #11, creating a lydian sound.

16.9 Three pentatonic scales superimposed over traditional harmonic progression:

C Pentatonic/Dm7 Db pentatonic/G7 D pentatonic/Cmaj7

& c œ œ œ œ œ œ œ œDm7

œ œb œb œb œb œ œ œG7 alt.

œ# œ œ œ œ œ œ œCmaj7#11

.˙ Œ

Different Kumoi pentatonic scales may be used over a iiø7 - V7 - i progression. An F Kumoi is used overthe Dø7, an Ab Kumoi over the G7 and a C Kumoi over the Cm.

16.10 Three pentatonic scales superimposed over traditional harmonic progression:

F Kumoi/Dø7 Ab Kumoi/G7 C Kumoi/Cm

& c œb œ œ œ œ œ œ œDø7

œb œb œb œ œb œb œ œG7

#9b13

˙ ‰ Jœb œ œCm œ œ œn œ ˙



An Eb major/C minor pentatonic scale is used for the melody in this section of an original composi-tion, One Day Old. The melody is distant and seems to float above the underlying Bb dorian. This maybe because the Eb major/C minor pentatonic scale does not include the third or seventh of the Bbm7.

16.11 Bert Ligon: One Day Old

& bb b b c .œ jœ ˙Bbm7 Cm7/F

‰ jœ œ œ œ œ œ œBbm7 Cm7/F

.œ jœ ˙Bbm7 Cm7/F

.˙ ŒBbm7

& bb b b .œ jœ ˙Bbm7 Cm7/F

‰ jœ œ œ œ œ œ œBbm7 Cm7/F

3

œ œ œ œ ˙Bbm7 Cm7/F .˙ Œ

Bbm7

A Kumoi pentatonic scale can also be used to create a phrygian sound A G Kumoi over an A bass cre-ates A phrygian, and F Kumoi over G creates G phrygian. The melody below is the first theme from anoriginal composition, Heads Up.

16.12 Bert Ligon: Heads Up

& c œ œb œ œ œœ œ œA phrygian .˙ ‰ Jœ œ

œ œ œ œ œ œb œG phrygian

.œ jœ Ó

& Œ œ œ œœ œ œA phrygian .˙ Œ ‰ Jœ œ

œ œ œ ‰ jœbG phrygian œ œ œb œ ˙



PENTATONIC SUPERIMPOSITIONS FORMULASThese charts illustrate various formulas available for superimposing pentatonic scales over traditionalchords.

PENTATONIC SUPERIMPOSITIONS FORMULAS for MAJOR SEVENTH CHORDS

Major Pentatonic scalebuilt on Scale Degree:

SOUND FUNCTION CHORD TONES

Root Simple major I or IV R - 9 - 3 - 5 - 6Fifth degree Brighter major ninth I or IV 5 - 13 - Maj7 - 9 - 3

Second degree Lydian IV or Lydian 9 - 3 - #11 - 13 - Maj7

PENTATONIC SUPERIMPOSITIONS FORMULAS for MINOR SEVENTH CHORDS

Minor Pentatonic scalebuilt on Scale Degree:


Root Simple minor ii7, iii7, vi7, or a iv7 1 - b3 - 4 - 5 - b7Fifth degree Brighter, no third ii7, vi7, or a iv7 5 - 7 - R - 9 - 11

Second degree Brightest, no third ii7 or a iv7 9 - 11 - 5 - n13 - R

PENTATONIC SUPERIMPOSITIONS FORMULAS for DOMINANT SEVENTH CHORDS

Major Pentatonic scalebuilt on Scale Degree:


Root Simple major V7 to major R - 9 - 3 - 5 - n13Diminished Fifth degree Dark, all alterations V7 to minor b5 - b13 - 7 - b9 - #9

KUMOI PENTATONIC SUPERIMPOSITIONS FORMULAS

Chord Symbol Built on Scale Degree Chord Tones

m6/9 R 1 - 2 - b3 - 5 - 6ø7 3rd 3 - 11 - b5 - 7 - R

Dom. 9 5th 5 - 13 - b7 - 9 - 3Dom. 7 (#9, b9, b13) b9th b9 - #9 - 3 - b13 - 7

maj7#11 6th 13 - M7 - R - 3 - #11

For exercises to develop the use of the many melodic fragments and their applications, see chapter 6 ofComprehensive Technique for Jazz Musicians.

394 Chapter 17 Coloring “Outside” the Lines & Beyond


XVII. COLORING “OUTSIDE” the LINES

& BEYOND

APPROACHES to COLORING OUTSIDE the LINES

Most stories are constructed with a variation of the same form: in the beginning there is relative calm —something comes along which disrupts the calm — in the end something happens to restore the order.Melodies throughout history often follow the same form: the initial order is established by the dominantto tonic relationship — pitches other than the tonic triad (diatonic and/or chromatic) create some de-gree of dissonance — order is restored by the return to tonic at the end. Functional harmonic systemsoffered other ways of following this form: a tonic triad established form by its relationship to the domi-nant chord — chords progress away from the tonic chords to other chords of relative dissonance (toother diatonic chords or modulations to close or remote keys) — and the return to re-establish tonic atthe end. The grand architectonic framework of the classical composition, the Sonata Form, was a varia-tion on this same story form: the exposition establishes order with the main theme group, the first in thetonic key, the second in either the dominant or relative major — the exposition features variations ofthe main theme in different keys — and the recapitulation restores order restating the original themesin the tonic key.

Music history could be traced by the relative degrees of dissonance that was fashionable. Centuries agoa seventh was considered the extremes of dissonance. Now, the primitive sounds in Stravinsky’s Rite ofSpring no longer shock. Early jazz improvisation was based on elaborated melody, then grew to includesome triadic generalization. As jazz developed, the levels of dissonance were expanded. Chords withmore extensions, progressions that obliterated the sense of tonic, and compositions with out any chordsystems became part of the jazz language. Musicians looked for other ways of creating the dissonancesnecessary for good story telling. One development in this search is the concept of playing against theestablished tonal center, or coloring outside the lines. If the tonal spectrum is established with a modeor a key which asserts that seven tones are the boundaries (as the seven notes of a major scale or a typi-cal mode) then five notes remain that are outside of that realm. A number of jazz artists are attracted tothese “other” notes as a way of creating the tension necessary in the structure of their improvisations. Iwould never recommend teaching beginning students to play “outside” of the key — most are equippedwith the ability to play those notes when they enter the beginning improvisation classes. After exploringand mastering to a high level the ability to play within the established frameworks, many students maybe interested in pursuing improvisations that go against the grain. Playing outside usually follows the es-tablished pattern discussed above: IN (order established by playing within the key area) — OUT (orderdisrupted by playing outside of the key area) — IN (a return to the key area). The IN establishes orderlike a tonic chord; the OUT behaves like a dominant, so a line that moves IN - OUT - IN is much like aprogression that moves I - V7 - I.

Chapter 17 Coloring “Outside” the Lines & Beyond 395


Anytime improvisers move away from playing inside the established tonal center or chord progressionthey are playing “outside.” This includes infinite possibilities. There are several approaches that can becategorized which may help direct attempts at outside playing. These basic approaches include:

• Tonicization• Superimposition of Functional Harmony• Superimposition of Random Non-Functional Harmony• Side-Slipping• Planing & Chromatic Motivic Development• Pentatonic & Quartal Approaches• Superimposition of exotic or unusual scales

Tonicization

A dominant chord may be inserted into any progression to tonicize any chord. This idea dates backcenturies. This device is still quite useful especially with the variety of dominant sounds available to thecontemporary improviser. In this G dorian setting a D7 half-whole is implied in the second measureand returns to the Gm7.

17.1

& c œ œ œb œ œ ‰ JœGm7

œ œb œ œ œn œn œ# œ# œn œ œb œ œ œ œn œGm7

.˙ Œ(D7 half-whole)

Superimposition of Functional Harmony

Other harmonic progressions beyond just the dominant may be superimposed over phrases. A Bb9 andA7 are implied in two measures breaking up a four measure phrase of Dm7.

17.2

& c œ œ œ œ œb œDm7

œb(œ œ œ œ œ œ œ

Bb9#11

œb)œ œ œ œb œ œ œ

A7

#9b13

.˙ ŒDm7

Superimposition of Random Non-Functional Harmony

Any number of assorted chords may be inserted randomly into a progression. The chords could besymmetrical divisions of the octave as in: D dorian (Fm7 - Abm7 - Bm7) D dorian; or D dorian (F#m7 -Bbm7) D dorian. The inserted chords could be any chord type and for any mixture of intervals as in: Ddorian (Abmaj7#5 - Bbmaj7#5 - Ebm7) D dorian.

Side-Slipping

When a motive or a line plays a whole-step or half-step away from the tonal center, it appears to haveslipped to one side or the other. This is related to the fact that all tones have upper and lowerneighbors. Each note of a motive has a leading tone. In common practice each leading tone is resolvedbefore moving to a another non-harmonic tone. With side-slipping, it may appear as if all the leadingtones are played before the chord tones. Four notes from D dorian are shown in ex. 17.3 with their



chromatic leading tones. A line is shown where all the chromatic tones (a.) sound before resolving up tothe D dorian pitches (b.). It is as if the motive as a whole has a leading tone motive.

17.3

& c œ# w œ w œ# w œ# w ‰ jœ# œ œ# œ# œ œ œ œ œ œ œ ˙a. b.

Side-slipping may appear in two forms: a line could begin in the tonal area, move up or down and thenreturn; or could begin in a remote key and lead back to the tonal area.

Planing & Chromatic Motivic Development

Lines that side-slip move as if shifting to other geometric or musical planes just above or below thetonal center. Lines may shift to other levels further than a step above or below, and may move to allavailable planes. This shifting of a motive is related to analytical cubism. Picasso and cubist painters de-fied the conventional approach to space and representational art. Three dimensional objects were flat-tened onto a two dimensional canvas where many geometric planes were visible at once. Picasso ex-plained that he did not paint what he saw, but what he knew. A contemporary improviser knows thatmelodic fragments or motives exist in eleven geometric planes (keys) other than the tonal center.Shifting motives to these other planes or keys is consequently called “planing.” John Coltrane illustratedthis concept when he played the four note motive from A Love Supreme in all twelve keys.

Musical ideas may be planed freely or systematically. Much of traditional music is based on movingmusical ideas the interval of a perfect fourth or fifth as dominant theme moving up a perfect fourth tothe tonic. Many improvisers avoid this by planing motives with a mixture of intervals, following arpeg-gios and by scale steps. Some improvisers choose to plane their musical motives following one of thesymmetrical divisions of the octave: two tritone intervals; three major third intervals; four minor thirdintervals; six whole steps; or twelve half-steps. The two examples below illustrate how this may work.

A four-note motive is played over D dorian and sequenced down major thirds through Bb and F# beforereturning to D dorian. One more repetition of the motive occurs up a perfect fourth.

17.4 Planing by transposing motive down by major thirds

& c ‰ Jœ œ œ œ ‰ Jœ œ œ œ œb œb œ œb œ# œn œ# œn œ œn œ œ œ œ œ œ œ ˙The four-note motive in ex. 17.5 is transposed up by minor thirds beginning in D minor and movingthrough F minor, G# minor and B minor before returning to D minor.

17.5 Planing by transposing motive up by minor thirds

& Œ œ œ œ œ œ œ œ œ œ œb œ œb œ œ œ# œ# œ# œn œœ œ# œn œ œ œ ˙



A tone common to two different scales may be used as a pivot. The Cn is common to both the D minorand F minor pentatonic scales shown in ex. 17.6 and the Fn is common to both the D minor and Bb mi-nor pentatonic scales shown in ex. 17.7.

17.6 Using common tones as pivots

& wwwww wwwwwbbb œ œ œ œ œ ‰ jœDm7

œ œb œb œ œ œ œ œbFm7

œ œ œ œ ˙Dm7

17.7 Using common tones as pivots

& wwwww wwwwwbbbb œ œ œ œ œ ‰ JœDm7 œb œ œb œ œb œ œb œ

Bbm7

œn œ œn œ ˙Dm7

A motive can be transposed following any set of pitches. A six-note motive is sequenced in ex. 17.8 withits original intervals intact and the top note following the D dorian mode from A down to A. As the mo-tives get transposed, the top note remains within the tonal center while many of the other pitches createdissonance. This is like playing outside with one foot still in the door. Eleven notes of the chromaticscale occur in the line.

17.8 Planing transposing motive following scale tones

& c Œœ œ œ œ œ œœ œ œ œb œ œ œ œ œbœ œ œb œ œb œb œn œ œ œœ œn œ Œ Ó

& œ œ œb œ œ œ œ œœ œ œb œ œb œ œn œ œ œœ œ œ œ œ œ œ œ œœ ˙ Ó

Pentatonic & Quartal Approaches

Traditional tonal music is based on tertian triads. Melodies worldwide are based on tones of a majortriad, presumably due to its presence in the overtone series. If one wants to depart from the tertian tradi-tions, then quartal triads and structures are logical choices. Pentatonic scales are used often used to de-rive motivic material because of the many simple melodic shapes, and quartal triads that can be de-rived from them.

The previous examples were designed to illustrate specific concepts. Many of the concepts may overlapin real musical examples. The following excerpts may be analyzed with variety of approaches and notstrictly one distinct approach. It would be convenient for theorists if all melodic ideas used only singu-lar music principles, but this is not the nature of anything as complex as art. This has its parallel in anyscience: when observing something, the answer depends on the question (is light a wave? is light a parti-cle?) This should be instructive as to the nature of music and the perils of attempting to explain musictheory principles.



Wayne Shorter’s use of quartal material in his compositions often inspired the use of quartal sounds bythose improvising over Shorter’s music. Herbie Hancock, in ex. 17.9 excerpted from his improvisationon Shorter’s Speak No Evil, used the quartal chord D-G-C in its first inversion (see page 325). The mo-tive was sequenced at three other diatonic levels all containing tones from a C dorian scale. Hancockthen sequenced the pattern transposing it up by minor thirds. If the first occurrence of the motive rep-resents C dorian, the next could represent Eb, F#, A and then C again. It is impossible and unimportantto know whether Hancock conceived of the line by thinking of a superimposed harmonic progression orby intervallic transposition. The entire phrase is balanced and the chromatic passage was rhythmicallyand melodically prepared. Hancock presented the first motives simply, leaving space before each mo-tive. The motive was first repeated after five beats, then five beats again, then after only three beats.There is no space between the motives during the chromatic planing sequence.

17.9 Planing quartal motives by minor thirds

& c3

œ œ œ ˙ Œ Œ3

œ œ œ ˙Ó

3

œ œ œ œ Œ3

œb œb œ ˙

& Œ3

œ œ œ3

œb œb œ3

œ# œ# œ#3œn œ œn

3œ œ œ

Quartal chords and their inversions have fascinated more than just jazz musicians as the next few exam-ples illustrate. In fact many jazz composers and improvisers have looked to Bartók (17.10-11), Holst(17.12), Hindemith (17.13), Stravinsky, Copland and others for inspiration.

17.10 Quartal melodic fragments in Twentieth Century music

&?43

43

‰ œb œb œb œbœ œ œ œ œ œ

˙ œ œbœ œ œ œ œ œ

œb œb œb jœ ‰œ œ œ œ œ œ

17.11

? 43 œ œ œ œœ œb œ œ œ œ œ œ# .˙

17.12

& 42 œ œ œ œ œ œ œ œ œ œjœ .œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

17.13

? c œ œ œ œ œb œb œ œ œ# œ# œ# œ# œ œ œn œb ˙n



Tom Harrell used quartal patterns in these excerpts to slip in and out of “Rhythm Changes” in the keyof F major.

In this first example a motive was sequenced moving down by whole steps. The first motive began on Fand was displaced beginning on Eb, Db, B and partially again on A. The perfect fourth interval at the endof each motive was emphasized.

17.14 Planing quartal motives by whole steps

& ‰ Jœœ œ œb œb ‰ Jœ ‰ Jœ œb œb ‰ Jœ ‰ Jœ œ œ# œ œb œ œ œ œb jœ

Harrell began this excerpt with a motive that could have been derived from a pentatonic scale empha-sizing an ascending perfect fourth answered by a descending minor third. It was immediately sequenceddown by a whole step. In the second measure the descending minor third was replaced by a perfectfourth interval as the line continued. The perfect fourth intervals emphasized in this passage move downin whole steps: C-F, Bb-Eb, Ab-Db, F#-B, E-A.

17.15 Planing quartal motives by whole steps

& œ œ œb œ œb œ œb œ œb œb œn œ# œ œjœn

Harrell sequenced a four-note motive (Bb-Ab-F-Eb) down a major third (at F#) and then down a second(at En). From that point, the line continued with alternating ascending and descending perfect fourth in-tervals sequenced down by whole steps.

17.16 Planing quartal motives by various intervals

& c Ó œ œb œœb œb œ œb œ# œn œ# œ œ œ œ œ œ œb œ œb œb œ# œ# œn œn œ œ œ œn4 note motives:

P4 intervals sequenced by WS

Quartal intervals are not the only intervals used to blur the key center. Kenny Dorham used a whole steppattern chromatically sequenced over this traditional harmonic progression. To return to the key,Dorham used a conventional outline no. 1 clearly defining the Cm7 - F7, landing on the third of the Bb.

17.17 Whole-step sequential pattern followed by outline no. 1

& c3

œb œ œ œ œ# œ œn œb œ#Bb G7 œ œ œ# œ œn œb œn œCm7 F7

œb œ# œ œn œ œ œb œDm7 G7

œ œb œ œ œb œb œ œCm7 F7

jœBb

This next passage occurred in an improvisation by Joey Calderazzo over a D pedal. A very simplewhole-step 1-2-3 pattern is chromatically sequenced over the pedal. The rhythmic setting allows the lis-tener to hear the individual motives. This 1-2-3 pattern can be derived from a pentatonic scale.



17.18 Whole-Step 1-2-3 sequential pattern

& Ó œ œ œ# œ œ œ œ œ# œ# œ œ œ# œ œ œ œn œb œb œb œ œ

& œn œn œn œ œb œb œn œn œ# Ó œb œb œn œn œn œ# œn œb œb œn œn œ# œb œn

A quick view of the Bb blues chorus below and it is clear that the improviser was not thinking about atraditional harmonic framework. Rather than outlining chord tones, McCoy Tyner chose four-note mo-tives and developed them sequentially transposing them to other planes or pitch levels. This four-notepattern is the first four tones of a minor pentatonic scale. All of the pitches could be labeled as part of avertical structure of the underlying traditional blues progression, but the labels would often prove mean-ingless and misleading. A better understanding may be achieved by tracing the individual motives in-dependent of any explicit or implicit harmonic progression.

17.19 Bb Blues excerpt

& Ó ‰ Jœœb œb ‰

.œ œ œb .œb Jœb ‰ Jœœb œb ‰ J

œŒ œ œb ‰ Jœ# ‰ Jœ œ œ œ Œ

& ‰ Jœb œbœb œ Œ ‰ Jœ# œ

œ# œ# œ œ ‰ Jœ# œœ# œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ# œ# œ œ# œn œn œb œn œ œ# œ œ œb œb œ œ œ œ œ œ Œ ‰ jœ œb œb

a. b.

c. d. e. f. g.

h. i.

The four-note group began the phrase at (a.) and recurred eight more times at seven other pitch levels.The four-note group (a.) can be derived from an F minor pentatonic scale. These tones are also upperchords tones (5-7-root-9) of Bb7. In m.4, the four-note motive was transposed a tritone away. These tonescan also be analyzed as chords tones of an altered Bb7 (b13-#11-3-b9) or as tones from the tritone substi-tute dominant E7 (5-7-R-9). The motive from m.4 was transposed down a half step for m.5 at (c.). Thismotive, missing one tone, contains chord tones (5-7-R-[9]) of the Eb7 chord. Tyner’s motives to thispoint in the blues chorus were consistently with the upper structures (5-7-root-9) of the Bb7, E7 and Eb7chords.

17.20 Motives related to the underlying harmonic structurea. b. c.

& wwb wb wBb7

5 7 R 9

w# wn wn wnBb7

b13 #11 3 b9

w# wn wn wnE7

9 R 7 5

wb wb wb wnEb7

5 7 R 9

In mm.6-9 it appears no effort was made to coordinate the four-note motives with the underlying har-mony. The motives seem to follow a progression independent of the blues. The Bb minor motive of m.5



moves up to C# minor (d.), to F# minor (e.), E minor (f.), D minor (g.), and to C# minor (h.) again. Afterthe leap (m3) from Bb up to C# and the bigger leap (P4) up to F#, the four-note groupings follow a de-scending step line back to C#. The rhythmic character of the four-note group was altered by additionand subtraction of pitches and by shifting at the point of transposition.

17.21 Motives freely transposed over second phrased. e. f. g. h.

& w# w w# w# w# w w w# w w w w w w w w w# w# w w#

In m.10 of the blues, where one would expect an F7, the original four-notes recurred in retrogradematching the same chord tones that were used earlier in mm. 1-5. The four-note group at (i.) are the up-per chord tones (5-7-R-9) of the F7 chord

17.22 Motive related to the underlying harmonic structure

& wn wn wb wnF7

9 R 7 5

The excerpt below was improvised over F minor. Michael Brecker moved away from the key center usingsymmetrical six-note pentatonic patterns sequenced in descending half-steps before returning to F mi-nor. Brecker used these pentatonic scales: (a.) B minor pentatonic, (b). Bb minor pentatonic, (c.) A mi-nor pentatonic, (d.) G# minor pentatonic, (e.) F minor pentatonic.

17.23 Chromatically sequenced pentatonic scale patterns

& c Œ ‰ œ œ œ œ œb œ œ œn œ œb œ œ# œ œ œ œ œ# œ œb œb œb œb œn œ œn œ

& œ œ œ œ œ# œ œ# œ# œ# œ œn œb œna.

b. c.

d.

e.

The symmetry of ex. 17.23 is not present in ex. 17.24. Brecker may have superimposed another progres-sion over the given chords as shown below. All of the superimposed chords can be derived from the keyof three sharps. The notes over the Bb7 chord can be analyzed as chord tones of the Bb7 or its tritonesubstitute E7 and seem to clearly point to Eb minor.

17.24 Superimposed progression impliedFm7 F#m7 E Bm7 E7 Ebm7

& c Ó Œ œb œ œb œ œ# œn œ# œn œ œFm7

œ# œ œ œ# œ œ œ œbBb7

˙ ÓEbm7



This improviser planed a four-note motive over a modal blues in C minor shown in ex. 17.25. The mo-tive itself is quartal (D-G-C-F), a departure from tertian structures and can be derived from a pentatonicscale. The motive occurred earlier in the improvisation, and is shown here in an excerpt from the sev-enteenth and eighteenth choruses. At (a.) the pitches related to the key center of C minor; (b.) the mo-tive side-slipped down a half-step; (c.) the motive moved back to the original key; (d.) the motive side-slipped up a half-step and at (e.) up another half-step; and finally at (f.) up a fourth from the original,but the notes again related to the original key center.

17.25 Motivic planing or side-slipping

& c Ó œ œ œ œ ˙ œ œ œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œb œb œb œ œb œ œ œ œn œn œn œ œ œ œ œ œ œ œ œb œ œ œ œ œ œb œ œ

a.

b. c.

d.

e.

f.

This excerpt illustrates sequencing a motive at the tritone. Tete Montoliu played this motive over thefirst few measures of a blues progression in F beginning on the F and shifted to the Bn a tritone away,back to the F, and then to the Bn again. The three note motive can be derived from a pentatonic scale. Isthe motive on Bn suggesting a tritone substitution?

17.26

& b cœ œb œ œ œ œ œnF7 œ œ œ# œn œ œ œn œ œb œ œ œ œ œn œ œ œ# œn œ œ œn ˙ Ó

Bb7

Many different three and four note patterns can be extracted from pentatonic scales. These melodicfragments can be strung together and freely planed to create long lines that move in, out and around akey center. The melodic line shown in ex. 17.27 was created using the four note patterns shown below theline.

17.27 Planing in & around F minor using patterns extracted from pentatonic scales

&

&

c

c

‰ jœ œ# œ œb œ œb œ

wwww## wwwwbnb

œn œn œ# œ œb œn œn œ

wwww#n wwwwbbnb

œ# œ œb œn œb œ œ œ

wwww#n wwwwbbn



& BEYOND

Jazz improvisation is rarely totally free. Jazz musicians usually follow some set of instructions when improvising as a group. A twelve-bar blues with common chord changes in the key of F at a medium tempois an example of set of instructions that a group will agree upon as a point of departure. Parameters maychanges within that set of instructions: the tempo may be double-timed, alternate sets of chord changesmay be imposed, the piece may modulate on some cue. With all the freedom that offered by this minimal set of instructions, some jazz musicians have looked for other ways to motivate and direct improvisations. Some borrowed twentieth century aleatoric concepts, where a composer might not specify particular pitches or rhythms. Some musicians throw away all instructions and choose to play “free” jazz.The composition forms and may be decided moments before the performance, and may in part be dictated by chance. Many of these performances may sound “free” as they are far removed from traditional sounds, but they may be following very strict sets of instructions. There is little theory to discusswith “free” jazz, but here are some of the other ways musicians choose to direct their improvisations.

Tone Rows

If the traditional set of instructions is to give the improvisers a set of chords to which they will impro-vise melody lines and bass lines, then the opposite would be to give them lines and let the chords bethe result of those lines. Tone rows, literally rows of tones, may be given to the performers to executewith specific or non-specific rhythmic values. The rows may be twelve-tone rows or any assortment ofpitches. The tone rows may be split into sections and performed as a canon.

For sections of a original piece called In Remembrance, tone rows, were given to the bass and to thesaxophone. The tone row was not a twelve-tone row, merely a row of tones without given rhythm indica-tions. The vertical alignment, or chords, would change with every performance as each performer wouldchoose to perform them with different rhythmic values.

Isorhythms

An isorhythm was a technique common to the composition of medieval motets where one rhythmicpattern was repeated over and over while other musical elements were free to vary. In a contemporaryimprovisational setting, the rhythm may be given without any pitches. The improvisers must provide thepitches while following a predetermined rhythm. The isorhythm may be divided into sections wherethree improvisers perform it as a canon. The tone rows may be applied to the isorhythms at some pointin the structure of the performance.

Creative Groupings

Specific groupings of musicians may be determined ahead of time. The orchestration of the piece isgiven in the instructions and the notes and rhythms may be determined in other ways. One player maybe designated to lead a section while another follows. The one who follows tries to mimic or imitate theideas of the leader in something that resembles fugal or traditional imitative entrances. The designatedleaders may change throughout the group by cues. This can be an exercise is rethinking the organizationof a quartet. In so many jazz settings, the four members of a quartet all play at the same time for most ofa piece, the exception being the obligatory “trading fours” with the drummer. In a quartet, there can befour soloists (soloist meaning without any accompaniment), and ten other groupings of duos and trios.With the instrumentation of piano, bass, drums and saxophone, the group can be split into six duos: pi-ano/bass, piano/drums, piano/saxophone, bass/drums, bass/saxophone, and drums/saxophone; fourtrios: piano/bass/drums, piano/bass/saxophone, piano/drums/saxophone, and bass/drums/saxophone.If a soloists is to follow another, the second soloist may be instructed to begin with the actual pitches orsingle pitch on which the first ended.



Descriptions of Playing Techniques or Effects

A section may have a set of instructions that has nothing to do with rhythms or pitches but may de-scribe playing techniques or desired effects. The performers may be instructed to play anything fromthe following list and more: glissandos or smears, high or the highest notes possible, low or the lowestnotes possible, fast or fast as possible, agitated, short staccato notes, slow or calm, muted, half valvetones, breathy sounds, strings bowing near and even behind the bridge, and endless other ideas. Almostany of these instructions may be combined with others as: play a smear up to the loudest and highestnotes possible on the instrument and decrescendo playing staccato notes down to the lowest tones andfade to breath sounds. One set of instructions may involve using the instrument in unorthodox wayswhich might include using pitched instruments as percussion instruments.

Modes

Some sections may instruct the performers to play within a certain mode. This can be refreshing aftercontrapuntal chromatic parts. Often performers using these improvisational methods want the modalsections to be strictly within the designated mode allowing for no outside chromatic embellishment,side-slipping or planing. The modal sections are meant to be a very specific color and a contrast tomore dissonant and dodecaphonic sections.

Form

The form is often decided just before a performance by making a list of possible approaches, determin-ing cues and rough timings. One composition for a quartet may be:

(Leader cues transitions between sections)I. Twelve tone row without rhythmic designation played freely by the group.

II. Isorhythm pattern divided into three sections A, B & C, with the fourth section improvisedfreely. (player plays A, B & C, improvises D then repeats) Notes determined by the musicians

III. Four part round or canon following these instructions:

• long smears• legato twelve tone row from I.• improvise freely• percussive sounds on the instrument

IV. G dorian (bass instrument may play a bass line)

V. Original twelve tone row from I. applied to the isorhythm from II. Each musician takes a turn atimprovising counterpoint. Repeat and ritard to end of row.

Musical ideas from this point are only limited by imagination. Are there other ways to organize impro-visational music for a group of musicians? Are there ways to combine these structural concepts with tra-ditional structural, melodic and rhythmic materials?

Chapter 18 ANALYSIS: The BIG Picture 405


XVIII. ANALYSIS: The BIG Picture

TRANSCRIPTION

It is often said that transcribing jazz improvisations is one of the best tools for learning to improvisejazz. Transcription is a great tool, but many questions arise: why? what to transcribe? how much? howto? what is done after transcribing? Analysis is defined as the separation whole into separate compo-nents for individual study. The previous chapters have dealt with many of these separate components,approaches and tools for developing jazz music. The material was gathered and sorted from hundredsof transcriptions of great jazz performances. How do these pieces fit into the whole of a jazz improvisa-tion? This chapter will attempt to answer the why, what, how much, and what then questions of jazz tran-scription and analysis. Five well-known improvisations will be analyzed. The analyses should be studiedin conjunction with repeated listening to the recordings.

WHY TRANSCRIBE?

Like so many other arts, learning jazz improvisation owes much to imitating the Masters. Every great jazzartist can list those they imitated while learning to play. These artists developed their own unique voicewhile emulating someone else; much the same way a child becomes a unique individual even thoughbeginning by imitating parent’s words and actions. Historically, imitation was the only way jazz waspassed on from one musician to another and from one generation to another. Books about jazz camelater.

Ear development is one of the primary benefits of transcribing. Training the ears to take musical dicta-tion from an outside source helps the ears hear the music from the inside source. Imitation should gobeyond just playing the notes and rhythms: an artists’ inflections and articulations should also be mim-icked. There is a common musical vocabulary that all jazz musicians must know. This vocabulary is partof the socialization of jazz musicians. We often listen for that common language from an artist beforeaccepting the unique artistic expressions. We are often more comfortable with the individual expressionof an artist once we sense they have done their homework and speak our common language.Transcription expedites the development of melodic vocabulary.

WHAT & HOW MUCH to TRANSCRIBE?

Transcribe what interests you as an artist. Begin transcribing improvisations with a low degree of diffi-culty in order to develop skills and to prevent discouragement. The first attempts should be shortphrases, maybe only two to four measures of a particular improvisation. One or two potent phrases canprovide hours of practice room material. With practice, entire improvisations will be easier to tran-scribe. In the beginning an entire improvisation might be too difficult, too time consuming, and toomuch to digest to make it worth the investment of time.

406 Chapter 18 ANALYSIS: The BIG Picture


HOW TO?

There are many methods and tools to aid transcription. There are many digital devices that can slowdown the playback of a recording and even stop the recording on a single note. These may help theprocess, but can in some ways be damaging to the learning process. Stopping a melodic line on everypitch and plucking randomly on an instrument to find the pitch will be time consuming and counter-productive. Learn to depend on your ear. Resist the temptation to check every single pitch with an in-strument. Write out the phrase and then check it for accuracy with an outside source. Try to hearphrases, not just individual pitches. Let your intellect assist your ears. For example, if a piece is in Bb,then the Bb, D and F will sound consonant and the other pitches will sound dissonant to varying de-grees. Groups of chromatic and diatonic dissonances will usually point to a consonant note. Learn tohear those groups of notes as you would perceive a noun clause or a verb clause in a sentence: not asseparate words or letters but as a unit. In difficult passages it may be helpful to notate rhythms first, iden-tify the primary pitches on downbeats and significant rhythmic places, and then fill in the secondarypitches that complete the line.

WHAT THEN?

After completing a transcription fragment or complete improvisation, analyze the material. Determinewhat is being done literally and conceptually. Practice playing the entire transcription along with therecording matching rhythms, pitches, phrasing and articulations. Take choice fragments and practicethem literally in all keys. Examine the same fragments conceptually: what musical principles are at work?How could the same principles apply in a different way to the same or other musical settings? Whatcould be added or subtracted to the fragment and how else might it be applied? One fragment couldoccupy hours of inventive work in the practice room.

ANALYSIS

Why analyze a solo? There is a practical motive for most jazz theorists: we want to play quality jazz solos.By examining outstanding improvisations by great jazz artists we can find specific things to practice,find ways of organizing our thinking about structure, train our ears and brains to listen more intently andintelligently to the music we love.

Analysis is defined as the separation whole into separate components for individual study. Data must begathered, sorted into categories and classified, and then connections and conclusions can be formu-lated. Analysis begins with asking the right questions. Better questions yield more useful information.Have a list of questions on hand when you begin your analysis. No improvisation will include all the el-ements on any list.

There is no set formula or paradigm for a jazz improvisation. Several improvisations will share similarcharacteristics. One improvisation may focus on thematic and motivic transformation, another on im-provising over the harmony using common melodic outlines, another may rely on paraphrasing theoriginal theme. Treat each improvisation as an individual avoiding forcing square pegs into round holesor dismissing one as irrelevant because it does utilize the same principles as another. Do not try tomake the improvisation fit your idea of what should be there; analyze what is actually in the music.

Some questions may lead to dead ends. A specific approach may be searched for and not found.Determine that by asking the questions, and then move on to another area. Traces of one approach maybe found, and later determine to be insignificant for the analysis. Leave it behind, the job is not to jus-tify every note, or to justify any note. The absence of a specific approach may be significant to the anal-ysis.



Some of your search should be microscopic, and some macroscopic. You may have to examine smallpieces of the solo, down to individual notes in some cases. You should also step back and look at theoverall larger picture of the solo: how does it build? what are the devices that give the entire solo formand structure? Is there a shape and how is it achieved? Examine the trees and the forest.

SPECIFIC QUESTIONS to ASK ABOUT an IMPROVISATION:

The outline below is a source for questions about the specific devices used to create an improvisation.An improvisation can be based on the melodic material or the harmonic structure. A study of themeand variations by Bach, Mozart, Beethoven and others will reveal the same: that variations are based onmelodic or harmonic material. Within these two large categories are many separate divisions. If the im-provisation is based on melodic paraphrasing, what devices were used? If the improvisation is based onthe harmonic progression, was it specific or general?

I. Paraphrasing the MelodyA. What figurations were added to the melody? (NTs, PT, arpeggio tones, etc.)B. How was the rhythmic content altered?C. How was the general contour ornamenting or embellished?

II. Improvising on the HarmonyA. Harmonic Generalization

1. Triadic generalization2. Blues scales3. Common clichés

B. Harmonically Specific1. Specific arpeggios (1-3-5-7 & 3-5-7-9)2. Scales (related first to the key center, or specific chord symbol)3. Guide tones (3rds & 7ths)4. Outlines nos. 1, 2 & 35. Step progression: simple ascending or descending step motion in the middle of more angu-

lar lines. (Outline no. 1 is a typical example.)C. Harmonic superimposition

1. Tritone substitutions2. Additions to the basic progression3. Specific scale colorizations4. Mode changes5. Side slipping or planing

An improvisation may include many overlapping concepts. A single phrase may begin using harmonicgeneralization, move to harmonic specificity and end by paraphrasing the original theme or melody.Within an improvisation, compositional and motivic devices may be applied to any of the developmen-tal processes listed above. The list below reviews some of these devices that are illustrated in chapter 12beginning on page 318.

III. Compositional Devices for Motivic DevelopmentA. Repetition: The theme must recur for it to be a theme. What elements recur in the improvisation

and how are they similar or different?B. Sequencing: Transposing to other pitch levels in a repeating series.C. Fragmentation: Using a smaller portion of the initial idea.D. Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The

new material can occur before, after, or in the middle of the original motive which is usually in-tact and recognizable.



E. Embellish or ornament: This differs from the addition of notes before or after as it involves theelaboration of the original note using neighbor tones while still following the general contour ofthe original idea.

F. Augmentation: To augment is to make something larger. Musically this can apply to the rhyth-mic units, the intervals and even the orchestration.

G. Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervalsand the orchestration.

H. Inversion: The intervals of the original idea can be turned upside down. They can be invertedusing exact intervals or generally following the diatonic intervals.

I. Retrograde: The motive is played with the pitches in reverse order. This is not perceived by thecasual observer, but can be a useful device.

J. Retrograde inversion: the original can occur upside down and backwards. This is also not alwaysrecognizable to the casual observer.

K. Displacement: May be applied to rhythms or pitches. Pitches may be displaced by movingthem up or down an octave. A motive may be rhythmically displaced to a different part of thephrase earlier or later than might be expected

L. Mode Change: The motive might be set in other modes.M. Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches.O. Quotes from other sources

After closely examining individual notes in relationship to the original melody or harmonic structure, itis helpful to view the improvisation from a larger perspective. How are the phrases formed without con-sidering harmonic implications? Is there a relationship between phrases? Are there connections? Doseveral phrases work together to imply larger architectonic forms? A phrase can begin only three differ-ent ways: before the downbeat, on the downbeat, and after the downbeat. A phrase can be long or short.Do the length and placement of phrases contribute to the musical result of the improvisation?

IV. PhrasingA. Length (short or long, relationship)B. Placement (before, on, after)C. Connections (last notes or note of one phrase begins the next phrase)

What types of rhythmic character are present in the improvisation? Were there instances of polyrhyth-mic superimposition? Was there a contrast between simple and complex subdivisions? How does therhythmic character contribute to the structure of phrases, phrase groups and the overall form?

VI. Rhythmic Development (polyrhythm, contrasts)

How was contrast used as a developmental tool?

VII. Contrasts to look for:A. Harmonic specificity and harmonic generalizationB. High and low rangesC. Loud and softD. Simplicity and complexityE. Short and long phrasesF. Thick textures and spaceG. Agitated and calm



The improvisation can be examined in an even larger context. What is the overall shape and character?What musical mechanisms help determine the contour?

VIII. Overall CharacterA. Agitated, calm, relentless, conversational, etc.B. What musical elements contribute to the overall mood?C. When is the high point of the solo? How is that achieved?D. Resolves conflict or not?E. What is attractive about the solo? sound? rhythm? melodic ideas? technical interest? formal?

feeling?F. Harmonic vocabulary

It is recommended that the following improvisation analyses be

studied in conjunction with frequent listening to the recordings.

SO WHAT: MILES DAVIS

In the liner notes from the Kind of Blue recording session, Bill Evans described the tune So What as “asimple figure based on 16 measures of one scale, 8 of another and 8 more of the first.” Miles Davis didnot base his So What improvisation on “scale running.” Without the harmonic framework of traditionalharmony, Davis chose to develop his ideas using motivic devices including: repetition, fragmentation,sequencing, and diminution. Davis improvised two thirty-two measures choruses employing two majorthemes, one for each chorus with some overlap, and referred to both themes in his closing statement.

Davis introduced theme 1 in m.2 after a initial “sigh” motive. Theme no. 1 can be divided into threeparts as indicated by the lower case letters a., b., and c. The theme is a palindrome1 with an additionalnote at the end. The rising fragment of a. was balanced by the falling fragment of c. Davis sequenced thetheme in mm.4-7. The fragment c. was saved for the end of the phrase as Davis worked primarily withfragments a. and b. Fragment b. was transposed up a diatonic third in m.6. Fragment c. was rhythmicallydisplaced to end on the upbeat of beat four in m.7. The D was repeated up an octave to bridge the firstA section with the second and recalls the initial “sigh” motive.

18.1

& c Ó œ .œ œI

1

.˙ Œ Œ œ. œ .œ jœ œ- œ.Œ Ó ‰ jœ œ œ œ œ

a.

b.

c.

b.

a.

Theme 1: Sequence:

& œ œ. œ œ œ .œX Jœ œ> œ œ> œ œ œ œ œ œ œ.Ó œ œ œ. œ

a.

b. b.

a.

b.

c.

Seq. cont.:

Fragment b. occurred inverted in m.10 and was answered by fragment c. The pitches of c. were changed,but the general shape (descending, ending with repeated note) remains unchanged. This occurrencealone may be difficult to hear, but in conjunction with numerous appearances of fragment c. at the ends

1 A word, phrase, verse, or sentence that reads the same backward or forward. Examples: radar, refer, civic, deified,

rotator, Poor Dan is in a droop.



of phrases the relationship becomes clear. The inversion of b. returned in m.14 transposed up a stepfrom m.10 and again was answered by fragment c. Fragment c. was preceded by triadic material in m.13:the E a leading tone to F, a passing tone (G), A and the leading tone C#. These two phrases in the secondA section are symmetrical.

& œ Œ Ó Œ œ .œ> Jœ(1/2 V)

œ. œ3

œ ˙ ∑b. inverted

c.

&3

Œ ‰ jœ œ œ œ œ# œ .œ. œ .œ Jœ œ œ œ. œ œ.Œ ∑

b. inverted

c.

Section B began with a. transposed a tritone away from its first occurrence in m.3. A scale passage thatmay suggest fragment a. followed. The line ended with fragment c. again, up a half-step from its last ap-pearance in m.15. Another scale passage followed that included the unusual leap of a tritone (D-Ab) inm.23. This phrase, as all preceding phrases, ended with fragment c., this time transposed up a perfectfifth higher than in m.15. The pitches (D and A) are the same as those in m.3 and m.7, but inverted andthe rhythmic value of the repeated notes is augmented

&7

Œœb>

œb . ¿b œ. œb œb œb œ œb œb œ œ> ˙ œb> ¿b œb> Œ œb> œ œb> ¿a. c.

&1

jœb .œ>Ó ‰ jœb> œb œb> œb œ> œb œb> œb œ# œ œb> .œ œb œ œb œb œ œn œ# œc.c.

&5

œ. > Œ Ó œ œ> œ œ> œ(1/2 V)

œ. Ó Ó ‰ œ Jœc.

The inversion of fragment b. returned in m.30 answered by fragment c. Fragment c. occurred with thesame pitches in m.25 and m.31. This short idea signaled the end to the first chorus.

&9

˙ Ó œ> > œ œ œ. œ Ó Ó ˙b. inverted c. Theme 2:



The second chorus is an ideal structural point to introduce a second theme. Davis chose a secondarytheme that contrasted in many ways to the theme no. 1. Theme no. 1 was introduced between the pitchesof D and A; theme no. 2 is between C and G in an upper register. Theme no. 1 was rhythmically activewith eighth note subdivisions; theme no. 2 floated above the rhythm section using notes of longer val-ues. Theme no. 2 anticipated the second chorus and is answered in mm.34-35. Theme no. 2 was statedagain in the lower register in mm.36-37 and was answered in mm.38-39 similarly to mm.34-35. An in-verted fragment b. appeared to be a part of the answer to theme no. 2.

&II

3

w .œ Jœ œ. œ- .œ Jœ ‰ .œ ˙ ˙Theme 2: b. inverted

Theme 2 answer

Theme 2down octave:

&7

˙ Ó Œ œ (1/2 V).œ Jœ œ œ. œ œ œ œ3

Œ œ œ#(1/2 V)

˙T2 down octave T2 answer in upper octave:

b. inverted

The second A section of the second chorus began with a bluesy response to theme no. 2. The first twoshort phrases end with fragment c. of theme no. 1. It is as if Davis wanted to remind the listener of thefirst theme before further development of the second theme. The phrase in mm.45-47 which is nearlyidentical to the sequence that occurred in mm.4-7 was an additional reminder of the material of themeno. 1.

&1

.œ œb(1/2 V)

œ œ> œ> œ Œ ‰ jœ œ œ œ (1/2 V)

œ. jœ .œ ∑Bluesy response

c. c.

&5

‰ j¿ œ œ œ. œ. ¿ œ œ œ>jœ .œ> œ> œ œ œ jœ .œ Ó Œ œbSequence of T1. Echoes mm.4-7:

a. a. c.

b.b. b. T2 up half-step:

Having reacquainted the listener with theme no. 1, Davis continued the development of theme no. 2. Atsection B of the second chorus Davis played theme no. 2 up a half-step. The answer in the lower octave,in mm.50-51 was filled in with passing tones. A short passage (mm.53-54) that recalled fragment a. oftheme no. 1 ended with theme no. 2 transposed to another pitch level in m.55.

&9

.œ Jœ ˙b .œ Jœb œb . œb . œ ¿ œb œ œ œb Ó Œ ‰ jœ>T2 with PTs down octave:

T2 up half-step:



&3

œb œb> œ œb> .œ Jœb> œb œ œb> œ ‰ Jœb ‰ Jœb œ œb . Ó Ó œ œ œ œ

a.

a.

a.

T2 transposed:

Davis anticipated the last section of the chorus with a return of theme no. 2 in the original key. The an-swer in m.59 was rhythmically more active than previously heard. A response grew out of the theme no.2 answer that included the inverted fragment b. and fragment c.

&7

˙ ˙ ˙ .œ jœ œ œ œ. œ ˙ œ œ> œ œ œ œ.T2 T2 answer b. inverted

c.

A concluding paragraph of a well written essay sums up the major points discussed in the expositionand body. Davis seemed to follow this model and refers to both themes in his concluding line. The linebegins with fragment a. as if to restate the sequences found in mm.4-7 or mm.45-47. Theme no. 2 re-curred in m.63, and then Davis played the remainder of theme no. 1 ending with a rhythmic augmentedfragment c.

&1

œ> Œ Ó ‰ jœ> œ œ> œ œb> œ# œ> ˙ .œ jœ> œ œ œ œ# œ- œ. œ-Œ Ó

T2

a. c.

EXCERPTS from SO WHAT

Separating individual motives and themes, the component parts of the whole improvisation, makesthem easier to trace, examine and compare their characteristics. Theme no. 1 is shown with its threefragments in ex. 18.2.

18.2Theme no. 1 Fragment a. Fragment b. Fragment c.

& Œ œ. œ .œ jœ œ- œ.Œ Ó œ œ .œ jœ .œ jœ jœ œ œ

2

The “M” shaped palindrome structure of theme no. 1 is clear as illustrated in ex. 18.3.

18.3 Theme no. 1 as a Palindrome

& w w w w w



Davis began developing theme no. 1 by repeating the first two fragments, transposing fragment b. andreturning to the complete theme in this phrase from mm.4-7.

18.4 Repetition of theme no. 1 fragments from mm.4-7.

& ‰ jœ œ œ œ œ œ œ. œ œ œ .œX Jœ œ> œ œ> œ œ œ œ œ œ œ.4 a. a. a.

c.

b. b. b. b.

Forty-one measures after mm.4-7, Davis recalled and played almost the exact phrase in mm.45-47.

18.5 Repetition of theme no. 1 fragments from mm.45-47

& ‰ j¿ œ œ œ. œ. ¿ œ œ œ>jœ .œ> œ> œ œ œ jœ .œ

4 a. a. c.

b. b. b.

5

Twelve phrases in the improvisation ended with fragment c. This recurrence of material unified the im-provisation more than any other element. The first two occurrences were almost identical, both endedon an upbeat and both used the dominant falling to the tonic. The third occurrence in m.12 was a bitdisguised with smaller intervals and augmented rhythmic values. In m.15, the rhythmic values of frag-ment c. were closer to the original although the interval was slightly diminished. MM.21-22 recalled thefragment heard in m.15, but up a half-step. The original pitches, though inverted, returned in the two oc-currences at mm.24-25 and mm.30-31. Davis created a rising step progression with the endings of thethree phrases in mm.41-47. Each phrase ended with fragment c. and each fragment was a step higherthan the previous (mm.41, 43 and 47.) The fragment from mm.60-61 used the same pitches as that ofm.47. Davis ended the improvisation in mm.64-65 with the original pitches, the dominant and tonic, butthe rhythmic values were doubled.

18.6 Twelve occurrences of fragment c. as phrase endings

& jœ œ œ Œ3

& jœ œ œ8

& œ3

œ ˙12

& œ œ œ16

& jœb ¿ jœb .œ21

& Jœ œ ˙25

& Jœ œ œ31

& œ œ œ41

& œ jœ .œ43

& Jœjœ .œ

47

& Jœ œ œ61

& œ œ œ65



At the midpoint of the two chorus improvisation after developing one theme and its fragments for thefirst half, Davis introduced a contrasting second theme. Theme no. 2 floated while the first was morerhythmically active. Theme no. 1 was primarily constructed with the notes of a D minor chord and thesecond was based on the upper extensions, the 7-9-11, or a superimposed C major triad over the D do-rian. Davis repeated theme no. 2 with the first two pitches transposed down an octave. Theme no. 2 re-turned anticipating the B section in m.48. The triadic shape of the answer was disguised with passingtones. A short reference to the triadic theme no. 2 occurred in mm.54-55. Davis anticipated the last Asection with another return of theme no. 2 in m.56. Theme no. 2 recurred one last time in m.63 as a partof the last phrase, a summary including material from both themes.

18.7 Occurrences of Theme no. 2

& Ó ˙ w .œ Jœ œ. œ- .œ Jœ ‰ .œ33

b. inverted

& ˙ ˙ Ó Œ œ (1/2 V).œ Jœ œ œ. œ œ œ œ3

37

& Ó Œ œb .œ Jœ ˙b .œ Jœb œb . œb . œ ¿ œb œ œ œb49

& Jœb œ œb . Ó55

& Ó œ œ œ œ ˙ ˙ ˙ .œ jœ œ œ œ. œ ˙57

18.8 Last phrase of improvisation as summary of all thematic materials

& ‰ jœ> œ œ> œ œb> œ# œ> ˙ .œ jœ> œ œ œ œ# œ- œ. œ-Œ Ó

62 a.

c.Theme no. 2



OVERVIEW of THEMATIC MATERIAL

The charts below provide a overview of the thematic material in the Davis improvisation.

FIRST CHORUS

A (mm.1-8) A (mm.9-16) B (mm.17-24) A (mm.25-32)

Theme no. 1, fragmentsa., b., & c.

Fragment a.,inversion of b.

Fragments a., c., &inversion of b.

Fragment a.,inversion of b

SECOND CHORUS

A (mm.33-40) A (mm.41-48) B (mm.49-56) A (mm.57-64)

Theme no. 2,inversion of b., frag-ment of Theme 2

Theme no. 1,fragments a., b., & c.

Theme no. 2,fragment a.

Theme no. 2,inversion of b.Summary of all ideas inthe last phrase:(mm.62-65)

Without a harmonic progression, this modal improvisation included no guide-tones or outlines. Therewere no instances of exotic scales or harmonic substitutions. Davis developed two main themes andtheir fragments using motivic devices including: repetition, fragmentation, sequencing, and diminution.This improvisation is an exceptional lesson in motivic development and economical construction.Miles was frugal with notes, which made it easier to see and hear the simple structures. Miles constructeda logical improvisation manipulating fragments of his themes like Picasso in an analytical cubist paint-ing.

ALL BLUES: CANNONBALL ADDERLEY

Cannonball Adderley used several recurring musical elements in this improvisation. These elementsand their transformations helped create a coherent organization. The form is a modal blues. The mate-rial used to construct the entire improvisation was introduced by Adderley in the first four measures. Hebegan with extended arpeggios in thirds using a rhythmic motive that recurred with variations. A bluesymotive and a bop figure resembling outline no. 3 followed. Cannonball showed his wonderful sense ofbalance in this solo. Flurried passages were answered with simple swinging eighth note passages, such asthe iteration device in mm.28-30 and mm.37-38. Modal passages were contrasted and balanced withbluesy or be-bop figures. Extended arpeggios, leaping almost two octaves contrasted with measured trillfigures that restrained the melodic motion. Recurring rhythmic motives lent a continuity to the materialeven when the pitch content changed. Outline no. 3 lent continuity in form and structure to lines withmuch rhythmic variety. The rhythmic vocabulary ranged from relaxed, simple eighth notes lines to flur-ries of sixteenth notes and sixteenth note triplets. Certain areas of the form were treated the same, as ifAdderley conceived the passages as a certain mood or character beyond just the harmonic implica-tions. Many phrases ended with the bop outlines. Almost every chorus ended with an ethereal phraseavoiding harmonic and rhythmic clarity.

A rhythmic motive (R1) was introduced in the first phrase. Two eighth notes on the downbeats empha-sized the strong beats of one and four, creating the duple meter (

64 ). The pitches suggested an extended

tertian (1-3-5-7-9-11) G chord. A bluesy 4-3-1-7 idea answered followed by a bop sounding figure thateventually Adderley developed into outline no. 3. The 4-3-1-7 shape was the first item to be developed asAdderley sequenced it over the C7 in mm.5-6.



18.9

& 46 Ó . Ó œ œ7

I

1

œ œ Œ œ œ œ Œ œG7

9 11 9 7

œ œ Œ œ œ œ Œ œ œ5 3 1

œ œ œ œ œ œŒ œ œ#

4-3-1-7 MotiveRhythmic motive 1 (R1)

& œ œ3

œ œ œ œ œ œ œ œ œb ˙ .œ œb œ .œ ˙C7

‰ Jœ œ œb œ3

jœ œ œ œ œBop figure: 4-3-1-7 motive developed

The upper extensions returned over the G7 as Adderley emphasized the 7-9-11 of G7. The rhythm (R2)was related to R1 but stressed beats one, three and five. The accents of R2 suggested a triple (

32 ) instead

of the duple meter ( 64 ). The bop figure returned to end the phrase. Adderley treated the last four

measures of the first chorus with a harmonic and rhythmic vagueness that created an ethereal mood. R2returned in the last two measures of the form.

& œ œ Œ œ œ Œ œ# œ œn œG7

œ œ Œ Œ Œ3

œ# œ œ3

œ œ œ œN œ3œ œ œ œ œ .œb œ ≈ .jœ#

D7R2 Bop figureEthereal section:

&0

œ ‰ Jœb jœ# ‰ œn œb rœn œ œ œ œbEb7 D7 œ# œb Œ œ œb Œ œ œ œ œG7

œ œ Œ Œ Œ œ# œ œR2

Another variation of R1 occurred in mm.13-14 at the beginning of the second chorus using only the twoeighth notes on the down beats. The melody emphasized the upper extensions (9 & 13) and recalled thebluesy motive. A flurry of notes, G mixolydian scale with two chromatic passing tones, led to the recur-ring bop figure. This time the figure was recognizable as outline no. 3. A chromatic line was suggestedwithin the outline: (D-C#-Cn-Bn). Adderley answered with a static measured trill as a contrast to the vigor-ous outline figure.

&II

3

œ œ Œ Œ Œ œ œG7

œ œ Œ Œ ‰ jœ# œ œ œ œ .œ œ œ# œ œ5

œ œ œ œ œ# œ œ œ œn œ# œ œ œ4-3-1-7 motive

R3

Bop figure: outline no. 3

&6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3

œ œb œ œ œ œ œ ˙ ŒC7

Œ3

œ œ œ3

œ œ œ3

œ œb œ œ œ œ œMeasured trill: Measured trill:



The static measured trills were abandoned for the chromatic and rhythmically exciting line in mm.19-20. Outline no. 2 was followed by outline no. 3 and a arpeggio of the upper extensions (7-9-11-13-R) ofthe G7 chord. The sixteenth notes provided a rhythmic contrast, and the wide range of the line (almosttwo octaves) contrasted with the static nature of the previous measured trills.

&

&

3

œ œ œ3

œ œ œ œ jœ ‰ œ# œ œ œb œ œn œ œG7

9

w wG7

œ# œ3

œ œ œb œ œ œ œ œ œ œ œn œ œ 3œ œ œ ˙

7 9 11 13 R

w w w w w w w wOutline no. 2 Outline no. 3

Upper ext.

An ethereal feeling was again created on the last four measures of the form. Adderley recalled R3 andthe bluesy 4-3-1-7 motive in the closing measures of the second chorus.

&1

‰ Jœ œ œ œ ‰ jœ œb œ œb œ

D7

œb œb œb œb œ œ ‰ jœn œ# œEb7 D7Ethereal section:

&3

œ œ Œ Œ Œ œ œ œG7

3

œ œ œ jœ .œ Œ 3œ œ œ# œ œR3

4-3-1-7 Motive

The measured trill returned at the top of chorus three. It was answered by a lengthy flurry of sixteenthnotes that included outline no. 3, with the internal chromatic implications (D-C#-Cn-Bn), and ended withthe extended tertian arpeggio.

&III

5

˙ Œ ‰ Jœ œ œ3

œ œ œG7

3

œ œ œ ˙ Œ 3œ œ œ# œ œn œ œ œ# œMeasured trill:

&

&

3

œ œ œb œ œ œ œ œ# œ3

œ œ œ œn œ œ œ œ œ œ œ œ œ œ# œ œ5

7

w w w wn w

œ œ œ œ œ .œ Œ Œ œb œ œ œ7 9 11 13 R

Outline no. 3Iteration:

Upper Extensions



As a contrast to the sixteenth notes, Adderley played a repeated eighth note line. These repeated notesare called iteration. Rhythmic variation no. 4, occurred in m.31 featured a slightly diminished version ofthe pair of notes found in the other rhythmic variations. Rather than the two eighth notes of R1-3, thepair were the first two notes of an eighth note triplet. The ethereal section returned with ambiguous float-ing rhythms and distant notes such as the C#, the #11 of G7 in m.35. The last two measures contained areturn to R3 and the measured trill. The melodic material that began the fourth chorus again suggestedthe upper extensions (5-7-9-11) of the G7 chord.

&9

œ œ œ œ œ œ œb œ œ œ œ œ

C7

rœ œb œ œŒ Œ œ œ œ œ

3

œ œ œ œ œ3

œ œ ‰ œ œ œG7Iteration sequence:

R4

&2

œ œ Œ Œ Œ œ œ œb œb œ .œ œ œ œb ˙b œb œbD7

œ3

œ œ œ œ œb œ œb Œ ‰ JœEb7 D7Ethereal section:

&5

œ# œ Œ Œ Œ œ œ œ œG7

œ œ Œ Œ ‰ jœ# œ œ3

œ œ œR3

measured trill

Adderley played another iteration sequence at the beginning of chorus four. Outline no. 3 returnedpaired with an arpeggio that emphasized the upper extensions (5-7-9-11-13) of G7. The internal chro-matic implications (D-C#-Cn-Bn) were again implied in outline no. 3.

&

&

IV

œ œ œb œ œ œ œ œb œ jœ‰

G7

7

œ œ œb œ œ œ3

œ œ œ œ# œ œn œw w w wn

œ œ œ œ3

œ œ œ œ œ# œ œ œ5 7 9 11 13

w

Iteration sequence:Outline no. 3 Extensions

The line in m.40 suggested the tertian extensions (7-9-11-13) and at the same times has a blues feelingdue to the Db-C and the Bn-G. R1 returned in mm.61-62 with an inserted measured trill.

&0

‰ œ œ œ œ œb œ œ œ œ# rœœ œb œ Œ œ œ œ Œ œ

C7 3

œb œ œ3

œ œ œ œ œ œ œ Œ œR1 Measured trill

R1 continued through m.62 and led to another occurrence of outline no. 3 which Adderley again pairedwith the upper extension arpeggio. The rhythmically diminished pair of notes from R4 were used again



in m.65. The note pairs were played with progressively larger rhythmic values in mm.65-66. In m.65, thepair of notes were the first two notes of an eighth note triplet; on the downbeat of m.66 they return to apair of eighth notes; and at the end of m.66 they have become two quarter notes. The improvisationended with one last reference to outline no. 3 with the suggestion of the internal chromatic line, with amissing the Dn.

&

&

œ œ Œ œ œ# œ ‰ jœ3

œ œ œG7

3

w w w

œ œ œ œ œ œ œ œ œ œ œ 3œ œ œ7 9 11 13

w w

3œ œ ‰3œ Jœ

3

Jœ œ œ Œ œ œD7

Outline no. 3

R1Upper extension

Fragment of R4

&

&

œb œb œ Œ ‰ Jœ œ œEb7 D7

6

œ# œ Œ ‰ jœ ‰ jœ œ œ# œG7

w w ¿G7

œ œ œ# œ œ œ .˙

w w

EXCERPTS from ALL BLUES

RHYTHMIC MOTIVES

18.10a R1

& 46 Ó . Ó œ œI

1


œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œŒ

18.10b R1 at m.41 18.10c R1 at m.43

&1

œb œ Œ œ œ œ Œ œC7

&3

œ œ Œ œ œ# œ ‰ jœ3

œ œ œG7



18.11a R2 Implies triple meter ( 32 ) instead of duple meter (

64 )

46 œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ˙ ˙ ˙œ œ œ œ œ œ œ œ œ œ œ œ23

1 2

1 2 3

18.11b R2 in mm.7-8

& œ œ Œ œ œ Œ œ# œ œn œG7

œ œ8

18.11c R2 in mm.11-12

& œ# œb Œ œ œb Œ œ œ œ œG7

œ œ12

18.12a R3 in mm.13-14 18.12b R3 in mm.23-24

&II

3

œ œ Œ Œ Œ œ œG7

œ œ Œ &3

œ œ Œ Œ Œ œ œ œG7

3

œ œ œ jœ .œ

18.12c R3 in mm.32-33 18.12d R3 in mm.35-36

&2

œ œ Œ Œ Œ œ œ œb œb œ .œ œD7

&5

œ# œ Œ Œ Œ œ œ œ œG7

œ œ Œ

18.13a R4 in m.31

&1

3

œ œ œ œ œ3

œ œ ‰ œ œ œG7



18.13b R4 fragment in m.45

&3œ œ ‰

3œ Jœ3

Jœ œ œ Œ œ œD7

œb œb œ Œ ‰ Jœ œ œEb7 D7

œ# œG7

OUTLINE EXAMPLES

18.14a Outline no. 3 in m.4 18.14b Outline no. 3 in mm.7-8

& œ œ# œ œ3

œ œ œ œn œ œ4

& œ# œ œn œG7

œ œ8

18.14c Outline no. 3 in mm.15-16

& œ œ œ œn œ# œ œ œ œn œ œ œ œ œ œ16

18.14d Outline no. 3 from another improvisation

& œb œ3

œb œ œ œ œ3

œ œ œ

Bbm7

œb œ# œ œb œ ŒEb7

18.14e Outline no. 3 at the end of the improvisation

&

&

jœ ‰ jœ œ œ# œœ œ ¿

œn œ œ# œ œ œ .˙

œn œ44



OUTLINE EXAMPLES FOLLOWED by EXTENDED TERTIAN ARPEGGIOS

18.15a Outline no. 2 & no. 3 in mm.19-20

&

&

Œ œ œn œ œ

œ œ

œ# œ3

œ œ œb œ œ œ œ œ œ œ œn œ œ3

œ œ œ ˙

œ œ œ œ œ œ œ œ20

18.15b Outline no. 3 in m.27

&

&

œ œ œ œ œ# œ3

œ œ œ œn œ œ œ œ œ œ œ œ œ œ# œ œœ œ œ œ œ œ œn œ

œ œ œ œ œ.œ Œ

28

18.15c Outline no. 3 in mm.38-39

&

&

jœ3

œ œ œ œ# œ œn œœ œ œ œn

œ œ œ œ3

œ œ œ œ œ# œ œ œ

œ39

18.15d Outline no. 3 in mm.43-44

&

&

jœ3

œ œ œœ œ œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ44



EXTENDED TERTIAN ARPEGGIOS

18.16a G mixolydian: scale 18.16b Extended tertian arpeggio

& w w w w w w w w

R 2 3 4 5 6 7 R

w w w w w w w w

R 3 5 7 9 11 13 R

18.16c Extended tertian arpeggio at the beginning of the improvisation

&

&œ œ

w7


w w w w9 11 9 7

œ œ Œ œ œ œ Œ œ œw w w5 3 R

œ œ œ œ ˙1

18.16d Other extended tertian arpeggios throughout the improvisation

& œ œ3

œ œ œ ˙

7 9 11 13 R21

& œ œ œ œ œ.œ Œ

7 9 11 13 R28

& jœ3

œ œ œ œ œ# œ œ œ5 7 9 11 1339

& œ œ œ œ œ œ œ7 9 11 1344

4-3-1-7 BLUES FIGURE

18.17 4-3-1-7 Blues figure throughout the improvisation

& œ œ œ œ œ4

& ˙ .œ œb œ .œ ˙C7

‰ Jœ œ œb œ3jœ œ œ

5

& œ œ œ œ Œ14

& œ œ œ3

œ œ œ jœ .œ44



MEASURED TRILL FIGURE

18.18 4-3-1-7 Measured trill figure throughout the improvisation

& œ œ œ œ œ œ œ œ3

œ œb œ œ œ œ œ ˙ ŒC7

Œ3

œ œ œ3

œ œ œ3

œ œb œ œ œ œ œ17

&3

œb œ œ3

œ œ œ œ œ œ œ42

& Jœ œ œ3œ œ œ 3œ œ œ ˙

26

ITERATION

18.19 Iteration throughout the improvisation

& œb œ œ œ œ œ œ œ œ œ œb œ œ œ œ œrœ œb œ œ

Œ Œ œ œ œ œ œ œ29

& œ œ œb œ œ œ œ œb œ œ

G7

œ œ œb œ jœ29

ETHEREAL FLOATING VAGUENESS

18.20 Ethereal section at the end of first chorus

& œN œ3œœœ œ œ .œb œ≈ .jœ#

D7

œ‰ Jœb jœ# ‰ œn œb rœn œœ œ œbEb7 D7 œ# œb Œ œ œb Œ œ œ œ œG7

œ œ Œ9

18.20b Ethereal section at the end of second chorus

& ‰ Jœ œ œ œ ‰ jœ œb œ œb œ

D7

œb œb œb œb œ œ ‰ jœn œ# œEb7 D7

œ œG7

21



18.20c Ethereal section at the end of third chorus

& ‰ Jœ œ œ œ ‰ jœ œb œ œb œ

D7

œb œb œb œb œ œ ‰ jœn œ# œEb7 D7

œ œG7

32

PHRASE CONTENT

FIRST CHORUSExtended tertian arpeg-gios using RhythmicMotive no. 1 (R1)

‘ 4-3-1-7 Motive Bop Figurerelated to outline no. 3

1

4-3-1-7 Motive ‘ R2 derived from R1 Bop Figure5

Ethereal Section ‘ Rhythmic Motive no. 2(G harmonic minor)

R3

9

SECOND CHORUSR14-3-1-7 Motive

‘ Scale with chromaticpassing tones

Bop FigureOutline no. 3

13

Measured trill ‘ Outline no. 1 connectsto next measure

Outline no. 3 /extendedtertian arpeggio

17

Ethereal Section ‘ R3 4-3-1-7 Motive21

THIRD CHORUSMeasured trill figures Extended bop figure ‘ Upper extension arpeg-

gio25

Relaxed motive using it-eration

R4

29

Ethereal Section ‘ R3(G harmonic minor)

33

FOURTH CHORUSIteration idea returns Outline no. 3 Extended arpeggio Bluesy ending37

R2 Trill figure added torhythmic Motive no. 2

Outline no. 3 ends withextended arpeggio

41

R4–Rhythmic activitywinds down

R3 Outline No. 3

45

It should be apparent from these transcriptions that constructing improvisations is more that playingthe correct chords and scale tones. Cannonball Adderley introduced at the beginning of the improvisa-tion a few musical elements that recurred transformed and varied to create a coherent organization. Arhythmic motive recurred in several forms. Adderley implied several bop outlines and extended tertianarpeggios over this modal framework and often linked the two elements. The improvisation was bal-anced by contrasting rhythms, textures, moods, subdivisions and implied metric divisions.



BLUE in GREEN: JOHN COLTRANE

John Coltrane contributed so much to jazz from the complex harmonic passages in Giant Steps andCountdown to the modal improvisations and beyond. This improvisation was chosen for its simplicity.The short ten measure melodic line was constructed primarily from a single step progression elaboratedwith octave displaced notes and rapid scale passages. The melody is shown on the top line and the im-plied step progression on the bottom. The step progression often adheres to voice leading principles.

Coltrane leapt a perfect fifth to the An which began the descending step progression. The line returnedto An on beat three after moving to surrounding tones below and above to further embellished the An.There was a 4-3 suspension on the D minor chord. Another octave leap suggested a G7 preceding theCm7 so that the Fn sounds like the seventh resolving to the third (Eb) of Cm. The octave displacementcontinued and the seventh of F (Eb) resolved to the third of Bb (Dn) completing a descending scale thatbegan on A. The step line was octave displaced again as the Dn leaps up to the Cn, the #9 of the A7.

18.21

&

&

b

b

c

c

rœ œ œ œ .œ œ œ œ œ œ œGm9 A7b13

b9

1

˙ ˙

œ œ œ œ œ œb3

œ œ œDm9 Cm7 F7

œ œ ˙b

.œ ≈ rœ . .œ rœBbmaj7 A7b13

b9

˙ ˙˙ ˙

A secondary step line was introduced in m.3 which continued briefly through m.5 (F to E). Coltraneplayed an F triad over the A7 in m.3 and the Dm7 in m.4. The F triad works as a triadic superimpositionfor many of these chords and Coltrane seemed to be using these common tones to provide melodiccontinuity. The F triad creates a Gm11 over the Gm7; it is the 5-7-9 of the Bbmaj7; it supplies the b13 and#9 over the A7; and is the 3-5-7 of the Dm7 chord. The descending step line continued from the Cn downto Bn, the ninth of Am7, to the fifth of Dm (An), and came to rest again on the An as the ninth of Gm7 inm.6. A broken arpeggio octave displaced the An to the lower register for the A7. Coltrane used the as-cending D melodic minor scale to bring the line back up the octave to the An again. Note that he used aBn when ascending and at the top a Bb. The Bn helped the line ascend and the Bb brought it back downto the An.

&

&

b

b

œ œ œ œ œ œ œDm7 E7

b9

w.˙ œ

œ ≈ œn œ œ œ3

œ œb œAm9 Dm9

.œ jœn ˙˙ ˙

œ œ œ3

œ œ œ .œ œn œ#6

œ œ œ œ œ œGm9 A7

b9

˙ œ œ

The Bb, the b9 of A7 resolved as expected to the An, the fifth of Dm. The An was reinforced by the D mi-nor arpeggio and then moved down a step to Gn, the fifth of Cm7. The first step progression ended herewith a leap of a perfect fifth to a Dn. The improvisation began with perfect fifth leap. A new step progres-



sion began on the D. The D was surrounded by diatonic neighbor tones (D-Eb-C-D) over the F7, yet theplacement in different octaves disguises the close intervallic relationship. The Eb, as the seventh of F7resolved to the third of Bb. As with many improvisations in a bop style, which this piece is not, Coltraneplayed a 3-5-7-9 arpeggio over the Bbmaj7 chord. This arpeggio recalled the melodic shape from m.3.The arpeggio octave displaced the step line again and the C and Bb, the #9 and b9 of A7 resolved to An,the fifth of Dm7. Coltrane played scale passages over the A7, this time strictly playing D harmonic mi-nor. D ascending melodic minor returned in m.9 over the Dm7. The step line continued through the Gand F, the #9 and b9 of E7 resolved to En, the fifth of Am7. This voice leading referred to the similar pas-sage leading to the Dm7 in mm.8-9.

&

&

b

b

jœ ‰ ≈œ

3

œ œ œ .œ œ œb œ œDm9

Cm9 F7

˙ œ ≈ œœœœbb œœ

œœ

œ ≈ œ# œ œ œ œ œ œ œ œ œ œ œ œ œBbmaj7 A7b13

b9

.

.œœ Jœ ˙

œ œ œn5

œ# œ œ œ œ . .œ rœDm9 E7b13

b9

˙ .œ jœ

One skip interrupted the descending step line as Coltrane concluded this improvisation, fading away toalmost nothing. Bill Evans then metrically modulated the piece to double time for the next soloist.

&

&

b

b0

œ œ œ œ œ# œ œn .œ œb .œ œAm9 Dm9

0

˙ .œ œ .œ œ

œŒ Ó

Gm9

œŒ Ó

Coltrane’s melodic line over Blue in Green is profoundly expressive though only ten measures in dura-tion. The simple underlying structure contributes to expressiveness as it gave him a logical framework towhich he applied creative octave displacements, scale and arpeggio passages.

FREDDIE FREELOADER: WYNTON KELLY

Wynton Kelly played a short, simple, well constructed improvisation on Freddie Freeloader. One cen-tral element that makes this solo a classic was the groove; the soulful swinging feel from the beginning tothe end. The most difficult element to describe or adequately discuss is that elusive quality called “feel.”It cannot be quantified, codified, indexed and cataloged. It can be experienced from listening to therecording. We are lucky to be living in the an age where recordings of jazz classics are plentiful and canbe accessed from anywhere on the planet. Kelly constructed the improvisation using short, simplestatements, built up to an emphatic two-handed blues testimony and finally restored a calm that pre-pared the entrance of Miles Davis.



CONTRASTS

Contrasts contributed to the success of this improvisation. An improvisation constructed out of a singledevice, no matter how interesting, becomes predictable and uninteresting. Here are some elementsKelly manipulated for contrast:

• contrasted phrase lengths—short phrases & long phrases• contrast between blues generalization & harmonic specificity• contrast between simple triadic melodies & extended tertian melodies• contrasting accompanying approaches—simple inconspicuous independent left hand, left

hand answering the melody, & emphatic left hand, accenting with the melody

SOLO CONTOUR

Kelly played four blues choruses. The improvisation began simply with short statements and ended witha simple descending scale. Each chorus gathered a little more steam until the climax in mm.36-40. Thereare highs and lows within each chorus, but each one propelled the improvisation to the climax. In thefirst and second chorus, almost identical material recurred (mm.7-12 and mm.19-24). The recurrence ofalmost identical phrases preserved continuity within the improvisation. Rather that repeat exactly whathe played before, Kelly added rhythmic complexity (mm.19-20) and chromatic elaboration.

The rhythm section reached cruising altitude in the third chorus and settled in to a comfortable groove(listen to the sidestick snare on beat two and Kelly’s later emphasis on beat four). Kelly testified withstylistic gospel blues lines and double stops. This was the last stage building to the climax in mm.36-40.The climax was effective in part because of the arrangement and timing of previous material. Had Kellybegun with emphatic statements then mm.36-40 would not have been perceived as climactic.

PHRASE CONNECTIONS

Kelly helped the listener follow his improvisation with carefully connected phrases. Guide tones (GT)occurred regularly at significant rhythmic spots. Phrases often began on a note or notes that ended theprevious phrases. Rhythmic and melodic motives recurred transformed, though still recognizable, mov-ing the improvisation to a logical conclusion.

Kelly began with four very short statements based on the dominant rising and falling to the tonic, elab-orated with various neighbor tones. The chromatic tones (En, Gn, & Gb) are not heard as alterations ofthe dominants, rather as neighbor tones pointing to F. In m.5, after playing around the root and fifth ofEb7, Kelly played the seventh and third identifying the Eb7. The Db resolved back to Dn in mm.7-8. TheDn in m.7 was surrounded by its upper and lower neighbors, and the Bb triadic material led back to thelower Dn. An unembellished Bb arpeggio led to the guide tone An, the third of F7, in m.9, which Kelly ap-proached with a chromatic leading tone, G#. The leading tone/guide tone idea was sequenced for theEb7, and the emphasis on beat four of m.9 created syncopation. Kelly was careful to play Db in m.10 tocomply with the Eb7. The descending Bb arpeggio in m.11 yielded the upper tertian extensions (9-#11-13)of the Ab lydian dominant sound. An arpeggio that again emphasized upper extensions (7-9-#11-13) ofthe Ab lydian dominant sound led to the top of the second chorus.

Kelly’s left hand accompaniment was spare during this first chorus. Kelly played simple voicings usingjust the tritone, the third and seventh, of the dominant chords. The chords were played very softly andusually short; the only held chord occurred in the last measure of the first chorus. The chords were usedto launch some lines and punctuate others, and primarily occurred in the spaces between the right handlines.



18.21

& bb cI

‰ jœ œ œb œ œn .œ œ ŒBb7

5 1

Œ œ œ œ œ5 1

Œ rœ# œ œb œn œ Œ5 1

Œ œn œ œ œ Œ5 1

& bb ‰ Jœœ œ .œ œb rœ# œEb7

7 3

œ œb œ œ œ œb œ Œ ‰ Jœ3œ# œ œ .œ œ .œ œ

Bb7

3

œ œ ‰ ‰ jœ œ œ œœœœ>

3

& bb œœ##œ œ œ œ œ œ#> œnF7

3 3

œb œ œ œ œbœ#> œEb7

7 7

œ> œ œ œ œ ŒAb9#11

‰ jœ3œb œ œ .

.œœœ rœ# œœ

3(9-#11-13)

(7-9-#11-13)

Kelly played with the Bb triad in the first phrase of the second chorus. The Dn was emphasized in m.13preceded by its leading tone, C#. The triadic arpeggio in mm.14-15 led to the guide tone Ab which beganto point towards the Eb7 chord in m.17. Kelly interrupted the resolution of the dissonant Ab to the con-sonant G with the chromatic passage (all chromatic passing tones between F and Bb, the original notesfrom m.1). Kelly clarified the Eb7 sound by landing on the guide tone third preceded by its leading toneF#, and leaping to the seventh, Db. As a contrast to the preceding triadic shapes, Kelly played the upperextensions of the Eb7 suggesting a lydian dominant chord with the 7-9-#11-13 arpeggio that recalled ma-terial from m.12. The guide tone Db from mm.17-19 was resolved back to the major third of Bb (Dn) inmm.19-20.

The material heard in mm.19-24 was a transformation and development of the material heard in mm.7-12. The Bb triadic shape in m.29 was elaborated with sixteenth note subdivision compared to the tripletand dotted eighth notes of m.7. M.20 and m.8 are almost identical. Kelly reused the chromatic leadingtone the third of the F7 and the Eb7 chords in mm.21-22 as he had done in mm.9-10. The descendingarpeggio over the Ab7 chord in mm.22-23 recalled the similar arpeggio in m.11. An ascending arpeggiobridged the end of the second chorus to the top of the third as Kelly did in mm.12-13. Both of the firstchoruses ended on the major third of Bb.The accompaniment style for the second chorus was the same as the first: sparsely punctuated left handtritones, the only long note occurred in the last measure of the chorus.

& bbII

3

œ ‰ jœ œ# œ œ œ .œBb7

3

Œ3

œ œ œ œœœœœ œ

3

3œœ œ œ œ rœ# œœ œ œ œb3 7

Œ ‰ Jœ3œ œ# œ 3œ# œ œ

& b b7

rœ# œ œb Œ œn œ œ œ 3œb œn œEb7

3 7

œ œb> 3œ œ œ œ œ œb> œ7

Œ œ œ# œ œ œ œ œ œb œ œ œ œ#Bb7

3

œ œ ‰ Œ ‰ jœ3œ œ œœ

3(7-9-#11-13)

GT: DnGT: Db



& bb1

œ# .œ ¿ œ ‰ J¿F7

3

œœ# œœ œœb ‰ Jœœn œnEb7

3

Jœ .œb ˙Ab9#11

‰ jœ3

œb œ œ .œ œ rœ# œœ↓

(7-9-#11-13)

The swinging groove intensified during the third chorus. Kelly emphasized beat four in mm.24-27 andthe side-stick snare responded emphasizing beat two. A Bb triad was the source for melodic material thatemphasized the major third (D) and dominant seventh (Ab) in mm.25-28. A short repeated note rhyth-mic idea recurred several times in the chorus in m.26, m.28, m.29, m.31-32, and expanded in m.35. Kellyturned to the Bb minor blues scale in mm.28-30; the Db in this phrase acted as the guide tone seventh ofEb7 and the minor third of Bb minor blues scale. Kelly resolved the Db back to Dn in mm.30-31. Thedouble stops, 4-3 “amen” suspensions and bluesy elements give this chorus a gospel blues feeling. Thethird of F7 was again emphasized in m.33. A lydian dominant sound was suggested by the 7-9-#11-13arpeggio over the Eb7 in m.34. An emphatic extension of the repeated note rhythmic idea occurred inm.35 using the Bb triad over the Ab7, which set up the beginning of the climax. The minor blues line inoctaves began the climax to the improvisation in m.36.

The left hand accompaniment pattern shifted from dialog with the right hand to a more independentapproach. Kelly used variations of the “Charleston” rhythm placing the chords on beat one and theupbeat of two, sometimes stressing upbeats of four and two. In m.35, Kelly shifted to the emphatic ac-companiment style of playing both hands simultaneously.

& bbIII

5

œœ œ œ œ œ rœ#œœ↓

Bb7

3

œ œ Œ ‰ jœ œb↓

7

‰ jœ œb œ œ ¿ œ# ↓ .œ3

‰ jœ œ> .œ .œ œ œb œ>3

Emphasis on beat four

Short Rhy. idea

& bb9

œ .œn œ œ œb œ .œb ¿Eb7

7

œ œb œ œb œ ¿b3

œ œ rœ#œœn3

œ œ ‰ œ ‰jœœn

3

œb œ œœBb7

3

œ œ Œ ‰ J¿3œœ

> œœ œœGT: Db

GT: DnRhy.

Rhy. Rhy.

& bb3

3

œ œ œ œb œ œ œ œ œF7

3

œn œ œ œ3

œb œ œ3œ œ# œ 3œ œn œEb7

7

3

Jœ œ> œ> Jœ

> œ ŒAb9#11


3œœ œ œb

(7-9-#11-13) (9-#11-13)

Kelly continued the assertive and energetic accompaniment approach from mm.35-38. This passagesounds like the climax of a big band shout chorus with the octave reinforced melody in the right handover the left hand playing almost identical rhythms. (The climax is shown below in ex. 18.22). The lefthand returned to the independent “Charleston” rhythm in m.40.

The Bb minor blues scale material with the lowered third and seventh contributed to the powerful cli-max. Kelly recalled two other rhythmic devices that occurred earlier in the improvisation: the short, twonote idea from mm.26, 28, 31-32, and 35 returned in m.37; and the stress on beat four occurred again inmm.37 and 39. The climax ended with the displaced quarter note triplet and eighth note triple in m.39.The rapid passage in m.40 seemed to release the last bit of energy from the preceding climactic section.



& bbIV

7


Bb7‰ Jœ

œœ œb œ œ œœbœœ

3

‰œœnn œœbb J

œœbb3œœ œb œn œb Œ 3œn œ œ œ œb œ œ œ œn œ ¿ ¿n ¿

Rhy.Emphasis on beat four

To contrast with the preceding phrase, Kelly used the sparse left hand accompaniment again in the re-maining measures of the improvisation. The insistent quality of the preceding minor blues ideas arecontrasted with the return of the extended tertian arpeggio (7-9-#11-13) creating a lydian dominantsound for the Eb7. The guide tone Db emphasized over the Eb7 in mm.41-42 was resolved back to Dn inmm.42-44. The two Dn guide tones in mm.42-44 accent beat four as Kelly had done several times. In thefirst two choruses, Kelly led to the An, the guide tone of F7, using an ascending Bb arpeggio, and he didso again in this last chorus in m.44. Kelly emphasized guide tones on the downbeats of the final fourmeasures: the third of F7 (An), the seventh of Eb7 (Db), the seventh of Ab7 (Gb), and finally the third of Bb(Dn). The descending step line in mm.45-48 and diminishing rhythmic activity helped quiet the emo-tional intensity and prepare for the entrance of the next soloist, Miles Davis.

& bb1

‰ jœb œ œ œ œ œ œEb7

7

3œb œ œ œ œb œ œ œ rœ# œœ>3

..œœ œ œ .œn œ œBb7

3

Œ3

œ œ œ œœ œœ##œœ œœ##>GT: Db

GT: Dn

(7-9-#11-13)

& bb5

œœ œœ œb> œ œ œF7

3

3œb œ œ œ œ œ> œ œ œ> œbEb7

7

œ3

œ œ œ œ œ œ œAb9#11

7

˙ ÓBb7

3

Ex. 18.22 illustrates how Kelly’s left hand accompaniment contributed to the high point of the improvi-sation. Every important note in the right hand was doubled at the octave and supported with a threenote left hand voicing. The three note voicings included a seventh, third and thirteenth.

18.22 Emphatic left hand accompaniment at climax of improvisation

&

?

bb

b b

c

c

3

Jœ œ> œ> Jœ> œ Œ

Ab9#11

5 3

‰œœœb œœœ J

œœœ ...œœœ Jœœœ


3œœ œ œb

‰ Jœœœb œœœ œœœ œœœ œœœ œœœ œœœ


Bb7

œœœb œœœ Œœœœbn œœœb

‰ Jœœœ œb œ œ œœb

œœ

Œœœœb œœœbn œœœ œœœ œœœ œœœb

A fundamental theme and variation technique is for subsequent versions of a melody to be more em-bellished while retaining the same underlying structure. This can be found in the Chopin and Beethovenexamples on the following page.



18.23 Chopin, Nocturne in Eb, Op. 9, no. 2

&

&

bb b

b b b

812

812Jœ

Jœ

.œ œ œ œ .œ œJœ

.œ œ œ œm œn œ œ Jœ œb œ œ œmœ œœ

œJœ

œJœ .œ œ Jœ

œ œn œ œb œ œ œn œ œ œb œ œ .œ œ Jœ

.œ œJœ .œ .œ

.œŸ œn œ œ œ œ .œb .œ

First time:

Second time:

18.24 Beethoven, variation from Movement III, Symphony no. 9

&

&

bb

b bc

c

˙ ˙.œ œ œ œ œ œ œ œ œ

˙ .œ jœœœ œœ œœœ œ œn œ œœ œ œb

œ œ .œ Jœ

œœ œ# œœœ œn œœœœœœœœœ

œ œ œ œ Œ

œ# œ œ œ œ œ œ œ œn Œ

Original theme:

Variation:

Some would be surprised to find this technique in a blues improvisation. The very similar passages frommm.7-12 and mm.19-24 are juxtaposed in ex. 18.23. The bottom line illustrates the basic framework fromwhich both phrases were constructed.

18.25 Similar passages from mm.7-12 and mm.19-24 and their framework

&

&

&

bb

b b

b b

c

c

c

‰ Jœ3œ# œ œ .œ œ .œ œ

Bb7

Œ œ œ# œ œ œ œ œ œb œ œ œ œ#w w w w



w w w w w w

œœ##œ œ œ œ œ œ#> œnF7

œ# .œ ¿ œ ‰ J¿w

7

19

&

&

&

bb

b b

b b

c

c

c

‰ Jœ3œ# œ œ .œ œ .œ œ

Bb7

Œ œ œ# œ œ œ œ œ œb œ œ œ œ#w w w w



w w w w w w

œœ##œ œ œ œ œ œ#> œnF7

œ# .œ ¿ œ ‰ J¿w

7

19



MELODIC VOCABULARY

Kelly used a variety of materials for melodic sources. He kept a balance between triadic generalization,major and minor blues lines, and specific colorizations of lydian dominant chords. The following charttraces the melodic vocabulary measure by measure in the improvisation. A chart like this may be usefulfor practicing blending different melodic approaches within an improvisation.

FIRST CHORUSTonic & Dominant ‘ ‘ ‘1

Triadic Blues Scale Triadic ‘5

Triadic ‘ Extended Tertian(Ab9#11)

‘9

SECOND CHORUSTriadic ‘ ‘ ‘13

Extended Tertian(Eb9#11)

‘ Triadic ‘17

Triadic ‘ Extended Tertian(Ab9#11)

‘21

THIRD CHORUSMajor Blues ‘ ‘ ‘25

Minor Blues ‘ ‘ ‘29

Triadic Extended Tertian(Eb9#11)

Extended Tertian(Ab9#11)

Minor Blues

33

FOURTH CHORUSMinor Blues ‘ ‘ ‘37

Extended Tertian(Eb9#11)

‘ Triadic ‘41

Guide Tones:An = 3rd of F7

Guide Tones:Db = 3rd of Eb7 Guide Tones:

Gb = 7th of Ab7 Guide Tones:Dn = 3rd of Bb7

45



PHRASE CHART

Individual musical phrases can be short or long, and may begin before, on, or after the downbeat. Thefollowing chart traces the phrase lengths and beginnings measure by measure through Kelly’s improvi-sation. A chart like this may be useful for practicing contrasting phrase material.

FIRST CHORUSShort/After Short/After Short/After Short/After *1

Short/After Short/After Long/Before *5

(Long/Before) Short/Before *9

SECOND CHORUSShort/After Short/After Short/Before ‡13

Short/After Short/After * Short/Before *17

(Short/Before) Short/Before ‡ Short/Before Short/Before ‡21

THIRD CHORUSShort/After Short/After Short/After Long/After25

(Long/After) Short/After Long/Before29

(Long/Before) Short/Before33 *

FOURTH CHORUSShort/After Short/After Short/After Short/After ‡37

Long/After Long/Before41

(Long/Before, cont.)45

Kelly phrases were carefully connected. Lines often began on the same pitch or within a step of thepitch that ended the preceding phrase. Other phrases were connected by using and developing similarmotives. In the chart above, “*” represents phrases that began on the same pitch as the ending pitch ofpreceding phrases; “‡” represents phrases that began within a step of the previous ending pitch.

Wynton Kelly’s short, simple improvisation on Freddie Freeloader is a model of ingenious construc-tion. Never loosing focus on the groove and feeling, Kelly contrasted accompaniment approaches,melodic approaches, phrasing elements. Rhythmic and melodic motives recurred transformed, thoughstill recognizable, moving the improvisation to a logical conclusion. These elements were used to con-struct a solo with a discernible emotional curve from the simple beginning to the emphatic climax, tothe restored calm of the last phrase.



BILLIE’S BOUNCE: CHARLIE PARKER

Charlie Parker’s four chorus improvisation on Billie’s Bounce was constructed using a balance of triadicgeneralization and very specific outlines. The phrases were balanced, contrasting varied rhythmic subdi-visions, phrase lengths, and the important use of space.

18.26 Melody

& b c ..Ó Œ ‰ jœ1œn œ œ œ# œ œ œb œœF

œœ œœ ‰ ..œœBb B°7

œœ ‰ jœœ œœ œœF7

œ# œ œ œ œœb œœn œœ œœ

& b Œ ‰ jœ œ œ ‰ jœbBb7

‰ .œ œb œ œ œ ‰ Jœ œ Œ ‰ JœnF7 œ œ œ œ# œb œ œ#

Am7 D7

Alto 8vb

& b ..œ ‰ Jœ œ# œ œ œ#Gm7 œN ‰ Jœ œ œ œ œC7

œ ‰ jœœ œœ œœF7 D7

‰ ..œœ œœ ‰ jœGm7 C7

The improvisation began with an elaboration of the F major triad using chromatic passing tones. Theunderlying triadic structure resembles the Shaker tune Simple Gifts (see ex. 18.28). Parker’s secondphrase began on the last pitch of the first phrase transposed up an octave. The absence of a Dn, and theemphasis on F and C suggested Parker was still employing the F triad for the melodic structure. The Ab,the guide tone and seventh of Bb, was the only obvious concession to the Bb7 chord, and it returned toAn in m.19. Outline no. 2 was suggested in m.21, then Parker descended to C through a chromatic passingtone. The implications of C7 in m.22 were ignored in favor of a return to the same F triad elaborationfound in m.14. This melodic shape occurred later in a rhythmically diminished form in m.34.

18.27 Improvisation

&

&

b

b

I

œ œ œ# œ œ œnF

3

œ œ

œ œ3œ œ œ œ œ œ œ

œ œ œ œ œ

3

œ œ œ œ œb œ œ ŒF7

œ

Ó Œ ‰ Jœ

Triadic:

GT

& b7

œ œ œ œb œ œ œ œb œBb7

œ œ œ œ# œ œ œn œ œ œ œ œ œ œ œF7

∑GT GT

nb



&

&

b

b

Œ ‰ 3

œ œ œ œ œ œ œbGm7

1

œ œ œ œ œ

œ œ 3œ œ œ œ œ œ œC7

œ œ œ œ œ

œ œ œ œ œ ŒF7 D7

œ œ

∑Outline no. 2 Triadic

Chorus two began with a oddly placed rhythmic statement of F minor blues material. The notation is anapproximation (as is all music notation) and the recording should be consulted (as with all transcrip-tions). A triadic line returned in mm.27-28 ending on the guide tone Eb. The melody in m.28 was se-quenced over the Bb7 in m.29 stressed all of the Bb chords tones, including the identifying third (Dn)and seventh (Ab). The F triadic material returned in mm.30-31 with a relaxed eighth note feel.

&

&

b

b

II3‰ œ

3‰ œb œ œ œb œ œ œ œ ¿ œF7

5

≈ œb œ œ Ó Œ ‰ jœ œ# œ œ œnF7

œ œ

3œ œ œ œ œ œb œ ‰ jœ

œ œ œ œ œb

F Minor Blues

Triadic Outline no. 3

&

&

b

b

3

œ œ œ œ œ œ œbŒ

Bb7

9

œ

Ó œ œ œ

œ œ œ

œ œ œ œ œ œ œF7

œ œ œ

∑GTs:

Triadic

After a measure of rest (m.32) Parker played the most energetic phrase of the solo. Outline no. 3 beganthe phrase in m.33. The G, E and D were preceded by their leading tones. Parker implied outline no. 1and included a b9 over the C7 in m.34. The F triadic shape heard in m.14 and 22 returned in m.34 inrhythmic diminution. The phrase ended quietly returning to eighth note subdivisions. The ascending Farpeggio that connected the second chorus to the third is reminiscent of the “Mannheim Rocket,” theascending arpeggio motive that begin works such as the Finale of the Mozart Symphony in G minor,K.550 and the Beethoven Piano Sonata in F minor, Op. 2, No. 1.



&

&

b

b

Œ œ# œ œ œ œ œ œ# œ œ œ# œn œnGm7

3

œ œ œ œ œ

œ œ œ œ œ œ œ œb œ œ3œ œ œ œ œ œ œ

C7

œ œ œ œ œ œ œ œb œ œ œ œ œ œ

œ ‰ jœb œ œ œF7 D7

œ œ

Œ ‰ jœ œ œ œ œGm7 C7

œ œ œ œ œOutline no. 2 Outline no.1

Triadic

A descending step progression began in m.37 and returned to the Cn that began the phrase in m.36. Thesteps did lead to the third of Bb which might suggest outline no. 3 with passing tones or outline no. 1. Auniversal jazz improvisation device is to play the 3-5-7-9 arpeggio after arriving on the third of the targetchord, and this is exactly what Parker did on the Bb chord in m.38. The step line seemed to break intotwo pieces as the Dn resolved to Db and the Bb resolved to An. The Db ultimately resolved to the Cn inm.39. The upper line continued from the A to the G and on down to the C through the same chromaticnotes heard in m.37-39 (Eb-Dn-Db-Cn). That chromatic line (Dn-Db-Cn) was played in m.4 of the melody.

&

&

b

b

III œ œb œ œ œ œ œ œbF

7

œ œb œ œ œ œ œ

œ œb3

œ œ œ œ œ œb œBb

œ œb œ œb œ

3

œ œ œ œ œN œ3

œ œb œ œ œb œF7

œ œ œ œ œb

œ œ œb œ œ Œ

œ œb œStep progression

With no preparation, Parker played an Ab in m.41, an octave and a sixth above where the previousphrase ended. The material was based on the F triad, the Ab the only concession to the Bb7 chord. TheAn is avoided in m.42, but Parker played it on the downbeat of m.43 as expected with the F chord.Outline no. 1 began on the Cn in m. 43 and continued to the Gm7 in m.45. Two notes were necessary forthe D7, a secondary dominant (V7/ii). D7, as the V7 in Gm, must have an Eb from the key signature andan F# as the leading tone. Both of these notes occurred significantly over the D7 in m. 44 as they did inm.8 of the melody. Outline no. 1 was sequenced in m.46-47. The altered ninths (Db & Eb) were borrowedtones from F minor, created a downward pull to the line and recalled the b9 of D7 in m.44. Parker con-nected the third chorus to the fourth with a long tone suggesting a moment of repose.

&

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b

b

Ó Œ ‰ JœbBb7

1

œ œ œ œ œb œ œ œ

œ

.œ Jœ(

Œ)

‰ JœF7 Aø7

œ œ œ

3

œ œ œ œ œ# œ œ œb œ œD7

3

œ œ œ# œbOutline no. 1

b n



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&

b

b

œ œ œ Œ ‰ œ œ œ œGm7

5

œ œ

œ œ œ œ3

œ œ œ œb œb œC7

œ œ œ œ œ œb œ

œ œ œ œ ÓF7 D7

œ œ œ

‰ .œ ˙Gm7 C7

Outline no. 1 Sequence of Outline no. 1

The long line that began in m.48 was constructed of short ideas landing on oddly placed rhythmicspots. The G in m.48 was on the upbeat of one, the Ab in m.49 accented beat four, an Eb stopped the linein m.50, the G anticipated beat one of m.51 and the C ended the line on the upbeat of three.

& bIV

9

.œ jœ3œ œ œ œ œb

F

œ œ œ œ œ œb œ œBb7

œ œb œ œ œ œF7

∑GT

Parker repeated a bluesy idea heard earlier in m.17. The line was based on the F minor triad, while theAb and Dn clearly suggested the Bb7. The line accented beat three in m.53 and beat two of m.54. Apolyrhythm was suggested as the accents occurred three beats apart. The line in m.55 answered the bluesline and Parker resolved the Ab to An. Outline no. 1 returned in m.56 including the guide tone F#.

&

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b

b

Œ ‰ Jœœ œ œ œb œ

Bb7

3

œ œ œ œ œb œ œ Œ ‰ jœ3

œ œ œ œ œF7 œ 3œ œ œ œ œ œ œ# œAm7 D7

œ œ œ œ œ#Outline no. 1

b n

F minor idea from m.17 developed

Outline no. 3 occurred in mm.61-62. Parker added the common chromatic elaboration (G-F#-Fn-E). Thissame chromatic elaboration was heard in mm.9-10 of the melody. The improvisation was brought to aclose as Parker returned to triadic generalization in the final measures, ignoring implications of the D7,Gm7 and C7 chords.

&

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b

b

œ œ3

œ œ œ œ œ# œ œ œ

Gm7

7

œ œ œ

œn œ# œ œ Œ ‰ JœC7

œ œ œ7

œ œ œ œ œ œ œ œF7 D7

œ œ œ œ œ3

.œ jœ œ œ œ œGm7 C7

œ œ œ œ

œ Œ ÓF

Outline no. 3 Triadic



The triadic shape that Parker used (a.) at the beginning of the improvisation can be found at the heartof other melodic fragments. Lou Donaldson played almost the identical line (b.), and the Shaker song,Simple Gifts, follows the shape without chromatic embellishment.

18.28a. b. c.

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b

b

c

c

œ œ œ# œ œ œn

˙ ˙

œ œ 3œ œ œ œ œ œ œ˙ œ ˙

œ œ œ œ# œ œ œ œn

˙ ˙

œ œ 3œ œ œ œ œ œ œ˙ œ ˙


˙ ˙

œ œ œ œ Œ

˙ œ ˙

PHRASE CHART

The following chart traces the melodic approaches used by Parker in his improvisation on Billie’sBounce. A chart like this may be useful for practicing contrasting phrase material.

FIRST CHORUSTriadic ‘ ‘ ∑Triadic & GT (Ab) ‘ Triadic & GT (An) ∑Outline no. 2 Triadic ∑ ∑

SECOND CHORUSF minor blues Triadic Outline no. 3

Bb7 arpeggio/GT (Ab) Triadic ‘ ∑Busy: Outline no. 2 Outline no. 1/triadic Simple Triadic/Arpeggio

THIRD CHORUSDescending Step pro-gression

Step progression, cont.(3-5-7-9 arpeggio)

Step progression, cont. Step progression, cont.

∑ GT (Ab)/Blues triadicgeneralization

GT (An)Outline no. 1

Modulation GTs(F# & Eb)

Outline no. 1, cont. Sequence Outline no. 1 Held note = repose

FOURTH CHORUSGT (Ab) GT (Eb) ∑

Blues. Entrance stag-gered by dotted halfGT (Ab)

Blues line answered. GT(An) GT (F#)

Outline no. 3 GT: 7th-3rd (Bb-An) Triadic



ANALYSIS SUMMARY

In any search for meaning, the answers can only be as good as the questions asked. More questions yieldmore information and the more information helps bring the picture of the whole into better focus.

There is no indisputable paradigm for the form or approach to a jazz improvisation. Improvisations areas unique as the artists who create them. There are many elements of music about which many questionscan be formed. Be prepared to accept the music as it is, ask the questions, accept the answers. If one toolfor analysis works, then implement it; when it becomes ineffective, replace it with another tool.

Many musical materials overlap. A common melodic outline implies the use of guide tones and maycreate a step progression. An outline may be sequenced. Some lines can be at once harmonically gen-eral and specific. Guide tones may be observed within a line based on triadic generalization.

Learn to examine more than just notes in relationship to chords. Learn to consider melodies lines ashorizontal, linear entities and avoid strict, vertical thinking. How are the phrases related? What is therhythmic character? The significant notes may be on the downbeats of the measure but they can be an-ticipated and delayed. Measure lines exist only in music notation. What elements contribute to the char-acter of the whole or parts of the improvisation? Good music theory reveals something about the waythe music sounds and suggests practical applications for implementing those concepts.

Developing Practice Materials

The book, Comprehensive Technique for Jazz Musicians, was written from materials gathered from tran-scriptions. There are numerous examples of extracted practical musical concepts and applications forimplementing them in improvisations and compositions. These would include:

• Extract specific examples from solos. Learn in all keys. Transpose to minor. Add to, takeaway and personally adapt these ideas.

• Use large scale charts of improvisational approaches in creating improvisation agendas forpractice.

• Extract rhythmic ideas to add to your vocabulary. Include contrasts between simple andcomplex subdivisions, polyrhythmic ideas, displacement, etc.

Chapter 19 Expanding Harmonic Vocabulary 441


XIX.

EXPANDING HARMONIC VOCABULARY

INTRODUCTION

One challenge of life is avoiding falling into predictable patterns. This is especially true for artists. Afterfinding a workable vocabulary, painting techniques, concepts of form and color, and harmonic progres-sions, too many artists continue to use and reuse the same material. Driven composers, writers andartists continue to challenge the assumptions of their own vocabulary. This can be seen in the develop-ment of many diverse composers: Beethoven, Stravinsky, The Beatles, Sting, and Miles Davis.

The driving force of music is rhythm and melody is the lifeline. Harmony may be secondary to melodyand rhythm, but can do much to color and propel a musical story. New harmonic possibilities oftenspurs creation of new melodies. Reharmonizing a good melody may make it better or can create a con-trasting mood. This chapter should provide a challenge to discover new harmonic sounds and intro-duce some methods for challenging harmonic boundaries.

Chords happen by themselves only in a music theory class—in music they occur in a logical progres-sion we call harmony. Harmony is like a sentence: a sentence has form—different types of words work-ing together to create meaning beyond any single word in the sentence. A string of polysyllabic wordsstrung together does not insure meaning. Often, simple sentences work best. The same is true for a musi-cal progression. Harmony has its own logic and grammar, and like writing, takes years of experience todevelop the skills and ears to create meaningful, balanced musical creations.

A simple melody (C–D–E or DO–RE–MI) will be used to illustrate some harmonic possibilities. Thereare an infinite number of possible solutions for harmonizing these pitches; only a few will be examined.

The first example (ex. 19.1) uses common chords in a typical progression: I–V–I. Functional harmony(harmony functioning to point to a tonic) is centuries old, still quite familiar and useful, and may oftenbe the best choice in a given musical setting. Some contemporary harmony relies on extensions of thediatonic chords to further color the harmony. An extended C major becomes C major 7, C major 9, orC major 13 #11 (ex. 19.2a). D minor becomes Dm11 (ex. 19.2b).

442 Chapter 19 Expanding Harmonic Vocabulary


19.1 19.2a 19.2b

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œœœ œœœœ ˙

œ œ ˙

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˙ ˙ ˙˙˙˙#

w

˙ ˙ ˙˙˙˙

w

A simple ii–V–I progression in F (Gm7– C7– F) can be expanded using more extended and colorfultertian chords as in ex. 19.3.

19.3

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œœœœ œœœ˙˙

Gm9 C9 Fmaj7

œ œbœœb œœ ˙

˙A variety of ninths (9, b9, #9) and fifths (b5, 5, #5) or substitutes for the fifth (13, b13) can be added to adominant seventh chord. Ex. 19.4 shows a simple voicing for a G9 chord. The notes that have to remainfor the chord to be a G dominant chord are the root (G) and the third and seventh (B and F). The fifthand ninth can be altered and the chord still be a G dominant. There are twelve combinations with thefive voices shown. There are more if you consider all the enharmonic spellings, but a #5 and b13 are thesame pitch (the difference in a musical setting is that the #5 wants to resolve up and the b13 wants to re-solve down). The altered notes are sometimes written with enharmonic spellings (#9 = Bb instead of A#).These extended tertian (chords built in thirds) chords provide expanded sounds used in traditionalprogressions.

19.4 Possible dominants with alterations

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wwwwG9

w

wwwwG913

w

˙˙˙b ˙#G9b13 G9

#5

w

wwwwbG9b5

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wwwwbG13b9

w

wwwwbbG7b13

b9

w



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wwwwbbG7b5b9

w

wwwwbG13#9

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wwwwbbG7b13

#9

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wwwwbG7#9

w

wwwwbbG7b5#9

w

Pointing in one direction and arriving at another is a device used by magicians, comedians, great storytellers, and composers of music to create a surprise and maintain the interest of the audience. Aftersounding chords that clearly point to one place, composers often use a deceptive resolution to this end.The F and E7 in ex. 19.5 seem to point to A minor, but instead the progression arrives at A major. In thiscontext, the resolution is brighter in contrast to the previous chords in the progression. Ex. 19.6 trans-poses the same root progression as ex. 19.5 to the key of D. The progression almost sounds like func-tional harmony even though the A chord is not a dominant. Like ex. 19.5, the resolution to major is un-expected and bright.

19.5 19.6

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œœœœ œœœœb˙˙n##

Fmaj7 E7b5#9

Amaj7

œœ œœ# ˙&

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c

c

œœœœ œœœœ˙#

Bb9#11 Am9 Dmaj7

œœœbbœœœ˙#

Dominants that progress downward in fifths or down chromatically always sound good. Colorful alter-ations and upper extensions of these dominants generate motion. Using bass notes a tritone awaychanges little of the sound of the passage in ex. 19.7. A7 #9 b13 would become Eb9 #11, Ab9 #11 would be-come D7 #9 b13, G7 13 b9 #11 would become C#7 #9. (see discussion on tritone substitution, chapter 6,p.127). Ex. 19.8 shows dominants with other colorful alterations. In ex. 19.8, the roots move traditionallyin downward fifths. The root movement could be chromatic using tritone substitutions. Try this passagewith all eight combinations of tritone substitutions.

19.7 19.8

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œœœœb œœœœbn˙˙˙##n

A7b13

#9Ab9#11 G13#11

b9

œœœœœœbb˙˙

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c

œœœœbbœœœœ˙n

Gb9#11 F9#11 Bb9#11

œœœbbb

œœœb˙bb

Using parallel chords of the same quality can disguise the tonal center. The progression in ex. 19. 9 is in-teresting because each new chord cancels out the expectations of the previous one. The Cm7 removes



the En from the Dm9; the Bb, C and Eb of the Cm9 are canceled by the Bm9. D is the only common tonewith all three chords. While ex. 19.9 was interesting from the movement of like chords, mixtures of dif-ferent chord types are more common. Ex. 19.10 shows a mixture of major and minor ninth chords. Thekey center is disguised by the mixture of accidentals. The voices in the right hand are moving paralleland in contrary motion to those in the left hand.

19.9 19.10

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œœœœ œœœœb ˙˙#

Dm9 Cm9 Bm9

œœœœœœb ˙

˙##

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c

œœœœ œœœœ# ˙#Fmaj7 Em9 Dmaj7

œœ œœ ˙

Augmented major seventh chords can be built on the third degree of melodic minor and harmonicminor scales. They also can be constructed from augmented scales and major scales with a flatted sixth.The bass line in ex. 19.11 retains some of the feeling of traditional harmony, but the chords have movedbeyond being functional. Augmented major seventh chords diffuse any sense of tonality and pitch cen-ter since the chord tones can point so many different places.

19.11

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œœœœœœœœb

˙#Dbmaj7

#11 Gbmaj7#5 Fmaj7

#5

œœbb œœbb ˙n

Moving chords in a parallel fashion is sometimes called planing. This device was used by Debussy, DukeEllington, and many others. This parallel harmony, forbidden in “classical” harmony, can be very ex-pressive. The lydian chords in ex. 19.12 move in a parallel plane and get brighter as they progress. TheDb suggests 4 flats, the Eb suggests 2 flats, and the F no sharps/no flats. As each chord sounds, flattednotes are raised creating a brighter and brighter effect.

19.12

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œœœœœœœœ

˙˙˙Dbmaj7

#11 Ebmaj7#11 Fmaj7

#11

œœbb œœbb ˙



Ex. 19.13 begins with the same chord as ex. 19.12, but moves in contrary motion. The harmony is moredissonant and varied than previous examples. The progression goes from bright to dark: the Db lydiansounding chord is followed by a C minor/major 9, and then the A/Bb.

19.13

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œœœœœœœœ

˙#Dbmaj7

#11 Cmmaj7 A/Bb

œœœbbb

œœœb ˙

˙bb

Some chords are created by placing one chord on top of another bass note or on top of another chord.The resulting sound is usually called a polychord, though a true polychord is the stacking of two chordsone on top of the other. The resulting chords can be named in a traditional way but are often notatedwith slashes indicating the two chords or the chord and the different bass note. A common practice isto notate true polychords with a horizontal slash (—) with the top chord on top, the bottom chord onthe bottom, and to notate chords with different bass notes with a (/) where the first part is the chord, thesecond part indicates the bass note. For example:

DC= D triad over a C triad C/D = C triad over a D bass note

A common slash chord is created by placing the IV chord over the dominant bass note: F triad over Gin the bass (F/G). Essentially the same sound is created placing the ii7 chord over the dominant bass:Dm7 over G in the bass (Dm7/G). The sound is a dominant ninth chord with a suspended fourth. Thesechords are often notated as G7sus, G7sus4, and G9sus4, as well as the slash chord notation. The followingexample shows three possible harmonizations of the melody using suspended dominant sounds. Thefirst (ex. 19.14.a) uses simple triads over the dominant bass notes. Ex. 19.14.b shows the minor seventhchord over the bass note. (The chords in ex. 19.14.b are five note chords using just the notes of a penta-tonic scale). Ex. 19.14.c uses harmonic color similar to that of ex. 19.9, but changes the bass notes. Ex.19.14c is brighter than ex. 19.9 as the suggested mixolydian sounds are brighter than dorian.

19.14.a 19.14.b 19.14.c

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œœœœœœœœ

˙#F/G G/A A/B

œœœœœœ

˙#

œœœœbb œœœœb ˙˙nFm7/Bb Gm7/C Am7/D

œœœbbœœœ

˙œœœœ œœœœb ˙##

Dm9/G Cm9/F Bm9/E

œœœ œœœb ˙

Ex. 19.15 is a series of simple triads over the “wrong” bass note. These chords could be labeled differ-ently, but often the slash chord notation gets the better and quicker results from performers. Ab/A couldbe called A minor major 7 #11; G/Ab = Ab minor major 7 #11, E/F = F minor major 7 #11. Notice the con-trary motion in the outer voices. Ex. 19.16 is another series of simple triads over different bass notes.C/Db could be called C# minor/major 7 #11, but slash chord notation would probably get better results.



19.15 19.16

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œœœœbbœœœœ

˙#nAb/A G/Ab E

F

œœœ œœœbbb ˙˙n

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œœœœbbœœœœ

˙nAb/G G/Ab C/Db

œœœœœœbbb ˙bb

Ex. 19.17 contrasts two chord types: the minor/major 7 and the augmented major 7, two chord typesfrom the melodic minor scale. There is contrary motion in the outer voices. The upper voices in ex.19.18 are augmented triads which move in contrary motion to the bass notes. The augmented triads overthe bass notes create minor/major 7 chords.

19.17 19.18

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œœœœbœœœœ

˙#nFmmaj7 Ebmaj7

#5 Dmmaj7

œœb œœnb ˙n&

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c

œœœœbœœœœbb

˙#Fmmaj7 Ebmmaj7 C#mmaj7

œœ œœbb ˙##Some instances call for a mixture of voice leading as in ex. 19.19. Each separate chord could be labeled,but for best results, write out exactly what is wanted to eliminate the confusion caused by an oddlynamed or misinterpreted chord symbol.

19.19

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œœ œ ˙œ œb œœbb œœn œœ œœ#œb œœ œœb œœb œœ



Where a musical passage is located in relationship to the rest of the piece determines aspects of har-monic choices. This phrase from a big band jazz piece, Brainstorm, occurs in two different places in thepiece. The first time it leads to more development material; the second leads back to a solo on theform. The first time (ex. 19.20) feels completely unresolved, helping it to move the piece along. The sec-ond time (ex. 19.21) it is stated a major third higher and feels more resolved in this context, by landingon Bb minor/major 9.

19.20 19.21

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œœœœœœœœ####œœœœœœœœ#n

G/Ab F#/G G/F# A/F

œœœbbb œœœ œœœ### œœnn

wwwwbBb/B

wwnn

œœœœ###œœœœnnb œœœœ###n

œœœœbbnbB/C Bb/B B/Bb Db/A

œœœ œœœ# œœœbbn œœ

wwwwBbmmaj7

wwwbb

VOICE LEADING

Good voice leading is crucial to the success of a musical passage. Voices sound more musical whenthere is smooth motion avoiding awkward leaps. If each individual voice leads smoothly to the nextpoint, the result sounds less like a succession of chords and more like the result of moving lines. Voiceslead smoothly in all of the examples shown in this chapter. The examples would work if played by manycombinations of instruments. The outer voices, the highest and lowest, are often in contrary motion. Theinner voices, even in the most dissonant and complex chords, often move in steps with occasional leapsof a third. Good voice leading makes the music seamless and propels it in a linear fashion.

HARMONIC RHYTHM

Harmonic rhythm is the rhythm in which the chords change in the musical work. In a 44 piece where the

chords change every beat, the harmonic rhythm is quarter notes; every two beats = half note harmonicrhythm; every measure = whole note harmonic rhythm. Most well crafted pieces vary the harmonicrhythms. When chords change in rhythms that are too predictable the music may become monotonous.These examples are shown out of any musical context. Any assortment of harmonic rhythms could beused elongating the duration of the chords to any length. In ex. 19.22, the chords were taken from ex.19.9 and expanded into an eight measure phrase. The melody still follows the C–D–E contour over sixmeasures, though extra notes have been added. A composer should examine hundreds of musical worksfrom a variety of composers and styles to develop a sense of harmonic rhythm and harmonic pacing.



19.22

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q»¡•º.œ jœ œ œ œ œ

Dm9

˙˙ Jœœœ

˙ Œ ‰ Jœœœ

˙ œ œ œ œ˙˙ Jœœb...˙ ‰ Jœœœb

.œ jœ ˙Cm9

..œœ Jœœb ˙˙

...œœœ Jœœœb ˙

œ‰ jœ œ œb œ œb˙˙

˙ Ó

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œ ‰ Jœœœ# ˙

œœœ## ‰ J

œœœ˙˙

œ ‰ jœ œ# œ œ œœœœbbbb

Abm9

œœœ œœ˙˙

œœœ## ‰

Jœœbb

Œ ‰ jœœœœbnnn ˙Db13#11

b9

Œ ‰ Jœœb ˙

....˙ Œ

..˙ Œ

MIXTURE of HARMONIC COLORS

The major/minor harmonic systems depends on employing different chord types to propel the music.In the typical progression, ii7-V7-I (Dm7-G7-C), three chord types may be employed: minor seventh,dominant seventh, and major. Music can be interesting utilizing only one type of chord, but most of themusic we hear is composed of some variety of chord types, even if only two: major and minor. Manybest-selling pop and rock tunes only use major triads (IV-V-I = F-G-C, or sometimes Bb-F-C); many bluestunes utilize only dominant sevenths; and there are several compositions which use only minor seventhsor other single chord types exclusively. Claude Debussy and Duke Ellington used parallel chords of thesame quality effectively, but never for the entire piece. Mixing the chord types to create a progressionthat is meaningful, that can tell a story, create drama and tension, is the life mission of many com-posers. Aspiring composers should examine hundreds of compositions from many style periods andcomposers to gain a sense of timing and purpose. Ask questions of the music. When did the chordschange, how often, and at what pace? What were the different densities and their relation to the overallshape of the piece. Densities will be different from composition to composition. What may be a disso-nance and intense harmonic moment in a Baroque piece should be compared to its own context andnot to chords found in Stravinsky, Messiaen or Schwantner compositions.

Some composers have used formula, even serialist techniques to arrive at a varied harmonic progres-sion. Alternating chord types is one such device used by many composers. Some of the examples in thisarticle alternate from one chord type to another and back to the first.

In the introduction to Passenger (University of North Texas One O’Clock Lab Band, Lab ’88) severaldevices were used to attempt to make the music interesting, varied and moving. The first two phrases inthe introduction employ alternating major ninth and minor ninth chords. The third and fourth phrasesuse more complex sonorities which drives the music forward, creating more tension by the densities ofthe chords. The first phrase, ex. 19.23, begins with a major ninth chord and then alternates (M-m-M-m-M-m). The second phrase, ex. 19.24, begins with a minor ninth and then alternates (m-M-m-M-m-M).The melody for the second phrase is the same as the first, but transposed down a major third. The first



two phrases are orchestrated for the brass section in a slow chorale style, shown here in a piano reduc-tion.

19.23 Bert Ligon: Passenger

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œœœœBbmaj7

œœœb

....œœœœ###jœœœœœœœœbb œœœœ###

F#m9 Fmaj7 Cm9 Bmaj7

...œœœ##

jœœœnnœœœ œœœ##

wwwwGm9

wwwb


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œœœœbb œœœœnn œœœœ œœœœ####Cm9 Fmaj7 Am9 Dmaj7

œœœ œœœœœœ œœœ#

œœœœ# ....˙###F#m9 Bmaj7

œœœ###

...˙##

The melody for the third phrase, ex. 19.25, is the melodic inversion of the first phrase: what intervals as-cended before now descend and vice-versa. The chords are much more dense and have more variety:polychords, augmented major sevenths, lydian major sevenths. The phrase ends with a minor chordwith major seventh and an augmented eleventh, or viewed another way: Ab major over A minor.


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œœœœ####

F#/G

œœ

œœœœœœœœ œœœœ####

œœœœG/F# Ebmaj7

#5 Dmaj7#5 Fmaj7

#11

œœ## œœbb œœœœœn

˙˙˙####˙bbb

Emaj7#11 Ab/A

˙˙# ˙

˙

The piano plays the next section which begins to set up the time feel for the piece (fast swing). Ex. 19.26shows the harmonic framework for the fourth phrase. Augmented triads descend over ascending basslines creating a planing effect of minor/major sevenths chords. The last sounds are parallel diatonicchords from D harmonic minor with bass notes a fifth below: F maj7#5/Bb — Eø7/A.




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œœœbb œœœ# œœœnbn œœœ##Ebmmaj7 F#mmaj7 Abmmaj7 Bmmaj7

œœbbœœ##

œœbbœœ

œœœ# œœœn# ˙#C#mmaj7 Emmaj7 Fmaj7

#5/Bb

œ# œ ˙b

wwwwb

Eø7/A

wwSome interesting chords can still be derived from ancient scales. Even Stravinsky’s shocking chord fromRite of Spring is constructed with notes from Ab harmonic minor (Ex. 19.27).

19.27 Stravinsky: Rite of Spring

Eb7 over Fb chord: Built using all the tones of the Ab harmonic minor scale

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b b b

42

42œœœœb œœœœ œœœœ œœœœœœœœbbb œœœœ œœœœ œœœœ

œœœœb œœœœ œœœœ œœœœœœœœbbb œœœœ œœœœ œœœœ

˙b ˙b ˙b ˙b ˙b ˙b ˙n ˙b

Review the previously shown examples for harmonic variety. The following examples used alternatingchord types: Ex. 19.1, 5, 10, 17, 23, and 24. The following examples used similar or same chord type: Ex.19.7, 8, 9, 12, 14, 15, 18, and 26.

TYPES of MOTION

There are four possible types of motion between a pair of voices:

• Parallel: parts move in the same direction with the same constant interval types. Can be ef-fective in short passages, tedious over longer periods. Makes the distinction between the twolines difficult to discern.

• Similar: parts move in the same direction with different interval types. Similar to parallel,but less dependent.

• Oblique: one part moves and the other remains stationary. Can be pleasing for short pas-sages, but eventually the voices will both want to move, and move independently.

• Contrary: one part moves up and the other down. Typically the most interesting, because itclearly defines the independence of the two voices.

It is best to begin with just the outer voices when creating harmonic passages. Good relationships be-tween the outer voices may be enough to make the passage interesting. If the outer voice are interesting,then try different qualities of chords to create the inner voices.

Review the previously shown examples for types of motion. The following examples had contrarymotion: Ex. 19.1, 19.3, 19.5, 19.13, 19.14.c, 19.15, 19.17, 19.18, 19.19, 19.20, 19.21, and 19.26. The followingexamples had combinations of contrary and similar motion: Ex. 19.6, 19.8, 19.11, 19.23, 19.24, and 19.25.The following examples had parallel or similar motion: Ex. 19.12, 19.14.a, 19.14.b, and 19.16.



CREATING with NEW VOCABULARY

Here are a few suggestions on applying these and other sounds. Remember, part of creativity is takingchances and being playful.

• Don’t dismiss chords that sound ugly to you at first. Some chords dismissed now as useless maybecome very good friends later.

• Trust your ears to hear where the chords want to move.• Follow a simple step-line that can be elaborated later.• Always consider voice-leading. These sonorities should sound like voices in motion, not unre-

lated chords in some sequence.• Keep densities and colors consistent. Chords should be in company of related sonorities. If the

vocabulary is basic I-IV-V functional harmony, a wild mystery chord might sound inappropriate.In a context of dissonant polychords, resolving to a major triad might sound foolish. JacksonPollock and Norman Rockwell paintings probably would not hang together on the same wall. Onone end of a scale you have simple, basic functional chords and complex polychords on theother. Music based on simpler chords will probably not venture too far to the side of the com-plex chords and vise-versa. Harmonic passages using chords falling on the scale between thesimple functional chords and the more complex contemporary chords may venture into theancient and to the contemporary ends of the scale. It takes some practice and a critical ear tocompose music with harmony that sounds like it goes together. Surprise resolutions should havea sense of inevitability.

• Remember that any pitch can be a the root, 3rd, 5th, 7th. 9th, 11th, or 13th with any number ofalterations. The note “C” can be any of the following:

MelodyNote

Root of 3rd of 5th of 7th of 9th of 11th of 13th of

C C chords A or Abchords

F or F#chords

D, D#, orDb chords

B or Bbchords

G or Gbchords

E or Ebchords

• Work with short phrases at first. Don't try to conceive 32 measures of constantly moving har-mony. If a short passage works, try sequencing it at another pitch level, or trying similar har-mony.

EAR TRAINING

It is easier to write what you can hear, so step one must be to train your ears to recognize more sonori-ties. There were not that many different chord types used in this chapter to learn.

• Learn the basic chords—major triads: can you hear them? imagine the sonority? can you rec-ognize them in different contexts? Move on to minor, diminished, augmented chords.

• Learn the most common chords derived from major and minor (harmonic) scales: major, ma-jor 7, minor, minor 7, dominant 7, half-diminished 7 (ø7), diminished 7 (°7).

• Enhance those basic sounds by learning chords with added notes and extensions: (major 9, ma-jor 6/9, major 7 #11, minor 9, minor 6/9, dominant 9/13, dominant 7 with altered 9ths (b9, #9) al-tered fifths (b5, #11, 13, b13, #5).

• Learn chords derived from other scales such as melodic minor, major with a b6, diminished,augmented: (minor major 7, ø7 #2, major 7 #5).

• Learn “mystery” chords and polychords (chords superimposed on one another).• Take new chords one at a time, play them in different keys, or on different pitches until you are

familiar with their sound.



POSSIBLE HARMONIZATIONS of the PITCH “C”

19.28 Harmonization with major seventh chords

&

?

c

c

wwwwbAbmaj7

wwwbbb

wwwwwFmaj7

www

wwwwwbbDbmaj7

wwbb

wwwwwBbmaj7

wwb

wwwwwbbGbmaj7

wwwbbb

wwwwEbmaj7

wwwbb

19.29 Harmonization with minor ninth chords

&

?

c

c

wwwwAm9

www

wwwwwbbFm9

wwwb

wwwwDm9

www

wwwwwbbbBbm9

wwwb

wwwwwGm9

wwwb

19.30 Harmonization with dominant seventh chords

&

?

www wwwbbC13 C7b13

#9

wwwb www

wwwAb13

wwbb

wwwF13

wwwb

wwwb www wwwbbD7b13

#9D9 D7b9

b5

www# www www



19.30 Harmonization with dominant seventh chords

&

?

www wwwb wwwBb13 Bb9b13 Bb9

wwbb wwbb wwbb

wwwbb wwwB13b9 B7 alt.

www# www#

wwwwn#A7b13

#9

www

www wwww#nEb13b9 Eb13#11

b9

wwwbb wwwbb

wwwE7b13

#9

ww#n

19.31 Harmonization with lydian dominant seventh chords

&

?

c

c

wwww#C9#11

wwwb

wwwwBb9#11

wwwbb

wwwwbbGb9#11

wwwbbb

wwwEb9#11

wwwbb

19.32 Harmonization with augmented major seventh chords

&

?

c

c

wwwwAbmaj7

#5

wb

wwwwbbEmaj7#5

w

wwwwDbmaj7

#5

wb



19.33 Harmonization with half diminished chords

&

?

c

c

wwwDø7#2

wwwwb

wwwwbbbBbø7#2

wwbb

wwwwbGø7#2

wwb

19.34 Harmonization with dominant suspended chords.(Sometimes notated as C/D Am7/C, Am9/D)

&

?

c

c

wwwC7sus

wwwb

wwwbF7sus

wwwb

wwwD7sus

www

wwwwbbBb7sus

wwwbb

wwwwG7sus

www

wwwwbbEb7sus

wwbb

19.35 Harmonization using Poly or Slash chords

&

?

c

c

wwwwC/Db

wwbb

wwwwC/B

ww

wwwwbbAb/A

wwwnnn

wwwwbbAb/G

www

wwwwF/Gb

wwwbbb

wwwwF/E

ww

19.36 Harmonization with True Polychords and Extended Tertian chords

&

?

c

c

wwww

CDb

wwwbb

wwwwbbAbA

www#nn

wwww

FGb

wwwbbb

www#www#

wwwbwww##

wwwwbwww##

E aug.F aug

FmF#m

Dbmaj7#5Dmaj7#5

Chapter 20 Summary 455


XX. CODA

The development of jazz improvisation vocabulary is many ways mirrors the development of Western

art music. A great deal of jazz is based on the major/minor key systems common to music of the

Baroque through late Romantic periods. As the jazz art form grew, some jazz artists, as many composers

in the late nineteenth and early twentieth centuries, felt the major/minor systems had been exhausted. It

became increasingly more difficult to compose music that expressed their originality. Jazz composers

and improvisers began to use different harmonic materials imposed over the major/minor systems, and

later to create new music with harmonic progressions that did not function in traditional ways. Many

jazz artists throughout the history of jazz were influenced by non-jazz music of the twentieth century try-

ing to find ways to in corporate the sounds borrowed from Stravinsky, Bartók, Ravel, Debussy, and the

unusual methods for constructing music borrowed from Schoenberg, Cage, Boulez, and others.

Tonal music is not dead, and the evolution of jazz is yet completed. Jazz, as this book is written, still re-

flects a wide spectrum of musical expressions. Jazz has always been a melting pot of styles: African

rhythms and performance practices fused with European harmonic vocabulary, forms and instruments.

Jazz influenced popular music and in turn has borrowed from popular and folk music, world and ethnic

music, and even American country and western.

Students are often surprised at how much jazz theory is practical “real time” applications of traditional

theory. To grow as an artist, keep your ears, eyes and mind open. Learn from what ever sources are at

tractive. Bach, Beethoven and Mozart are invaluable sources of melodic invention, as is the music of all

cultures. Art Tatum was one of the greatest pianists in the world. There is a story about him visiting some

bar where a mediocre pianist was playing. One of Tatum’s entourage suggested they leave because pi-

anist was uninteresting. Tatum wanted to stay because he heard the one thing the pianist really did well.

This may have been why Tatum was such an exceptional musician: he consistently found the one thing

that someone did well and learned from it. Find those attractive things in music and learn from them.

If music is a vehicle for expression, then music theory should provide tools and resources to expedite

the search for what ever is needed to bring those expressions to life.

456 Appendix I Reference for Chord/Scale Relationships


Appendix I.Reference for Chord/Scale Relationships

The chords in the following chart are sorted by single identifying pitches Triads may have perfect, di-minished or augmented fifths; triads with perfect fifths can have a major or a minor third; a triad withmajor third may have a minor or major seventh, and so on.

Fifth P5 d5 A5

Third M3 m3 m3 M3

Triads Major Minor Diminished Augmented

M7 m7 M7 m7 m7 d7 M7 m7

7th

chords

Maj7 Dom7 mmaj7 m7 ø7 °7 maj#5 7#57sus °maj7

9th

chords &

beyond

Maj9 9 (n5) mmaj9 m9 ø7#2 °7 with

added

tones*

rare 9#5

Maj76/9 9 (13) mmaj7 6/9 m11

Maj7(#11) 7 b 9 (n5) m6/9

Maj7

(# 11/#9)

7 b 9 (b13)

7 #9 (n5)

7 #9 (b 13)

9 (#11)

7 (b 9 b 5)

7 (b 5 #9)

13 (b 9)

13 (#9)

9 (b 13)

13 (#11b 9)

9sus

7susb 9*(usually a whole step above one of the chord tones, ex. E°7 with F#, A, C, or D# added)

Appendix I Reference for Chord/Scale Relationships 457


There are many shorthand symbols for chords. There is no single agreed upon standard so one shouldbe familiar with and expect to find a number of possibilities. Here is a partial list of symbols you mayencounter:

C major 7 = Cmaj7, Cma7, CM7, C∆7 (C∆ can also mean just a major triad). In some parts ofthe world the triangle is unknown. “M” can cause problems depending on the accuracy of pen-manship. Rehearsals have stopped to measure the size of the “M’s” to determine major or mi-nor. The “maj” abbreviation is clear. C6 may be encountered in older music, and means C ma-jor with an added sixth. C6 does not mean C13, as C13 implies a dominant seventh chord. A C2chord indicates the root, second and fifth but may often be in first inversion as C2/E.

C minor 7 = Cm7, Cmi7, Cmin7, C–7. The “–” sign can be ambiguous, the “mi” and “min” un-necessary. Using “maj” for major and “m” for minor and staying consistent should insure yoursymbols are clearly understood. A Cm6 means a minor chord with an added major sixth. If aminor sixth is wanted above the minor chord it may occur as: Cmb6, Cm#5 (even though by def-inition a minor chord has a perfect fifth), or Ab/C. Cm6/9 indicates a major sixth and majorninth added to the chord.

C half-diminished = Cø7, Cm7b5, Cmin7 b5, C–7b5. This chord is found naturally in both themajor and harmonic minor scales. Showing it with an alteration is unnecessary when there is asymbol (ø) which means half-diminished. The 7 is redundant, since this chord cannot half-di-minished without the seventh, but is common practice to include it in the symbol.

C minor major 7 = Cmmaj7, Cm∆7, C–∆7. I would try to avoid the triangle and the “-” and usethe “m” for the minor third, and the “maj” to refer to the seventh. Try to separate the two toavoid “mmaj7.” A Cmmaj76/9 indicates a major sixth and major ninth added to the minor ma-jor seventh chord.

Slash Chords: Some chords are created by placing one chord on top of another bass note oron top of another chord. The resulting sound is usually called a polychord, though a true poly-chord would only be the stacking of two chords, one on top of the other. These chords can benamed in a traditional way but are often notated with slashes indicating the two chords or thechord and the different bass note. A common practice is to notate true polychords with a hori-zontal slash (—) with the top chord on top, the bottom chord on the bottom, and to notatechords with different bass notes with a (/) where the first part is the chord, the second part indi-cates the bass note. For example:

DC= D triad over a C triad C/D = C triad over a D bass note

Raised notes (#) should be shown with the universally understood musical sign “#.” Raised notesmay occur as “+” so that C7 with a raised ninth may appear as: C7#9, C7+9, and even the C7 9+.The plus sign is often misread as “add,” so that C7+9 could be interpreted as C7 add a ninth(D#) when someone meant a D#. The “+” sign could also refer to the fifth so that someone mayinterpret the C7+9 or C7 9+ as a C9 chord with a raised fifth.

Lowered notes (b) should be shown with the universally understood musical sign “b” Lowerednotes may occur as “–” so that C7 with a lowered ninth may appear as: C7 b9, or C7 –9, and eventhe C7 9–. In music notation # means raise and b means lower so these symbols are preferable tothe (+) and (–).

Extensions: When discussing scales use numbers 1-7 or 1-8. When discussing tertian chords usethe odd numbers: 1-3-5-7-9-11-13. The sixth degree of the scale in a chord is the thirteenth, so C13, not C6; C9 #11, not C9 #4.



CHORD/SCALE RELATIONSHIPS

SCALES

SCALES FORMULA

1 Major W W 1/2 W W W 1/2

2 Harmonic Minor W 1/2 W W 1/2 A2 1/2

3 Melodic Minor W 1/2 W W W W 1/2

4 Major with a b6 (Harmonic Major) W W 1/2 W 1/2 A2 1/2

5 Diminished (1/2 Whole)

6 Diminished (Whole 1/2)

7 Whole Tone W W W W W W

8 Augmented minor 3rd 1/2 m3 1/2 m3

1. 2. 3.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙b ˙ ˙ ˙b ˙n ˙ & ˙ ˙ ˙b ˙ ˙ ˙n ˙n ˙

4. 5. 6.

& ˙ ˙ ˙ ˙ ˙ ˙b ˙ ˙ & ˙ ˙b ˙b ˙n ˙# ˙n ˙ ˙b ˙ & ˙ ˙ ˙b ˙ ˙# ˙# ˙ ˙ ˙

7. 8.

& ˙ ˙ ˙ ˙# ˙# ˙b ˙ & ˙ ˙# ˙ ˙ ˙b ˙n ˙

Diminished scale is like a diminished 7 chord with leading tones to each chord tone and an augmentedscale is like an augmented triad with leading tones to each chord tone.

Diminished Scale Augmented Scale

& œ ˙b œ# ˙ œ# ˙n œ ˙b & œ# ˙ œ ˙b œn ˙



CHORDS with SCALE SOURCES:


1 Major 7 Ionian; 1st mode Major n4, 7

2 Major 7 Lydian; 4th mode Major #113 Major 7 6th mode Harmonic Minor #9, #114 Major 7 Major with a b6 b6 or b13

5 Major 7 Augmented Maj/Min3, 5, #5 or b6

1. 2. 3. 4. 5.

& ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ# ˙ œ ˙ œ ˙ œ# ˙ œ# ˙ œ ˙ œ ˙ œ ˙ œ ˙ œb ˙ œ ˙ œ# ˙ ˙ œb ˙ œ


6 Minor 7 Dorian; 2nd mode Major Major 6, m3

7 Minor 7 Aeolian; 6th mode Major b6, b38 Minor 7 Phrygian; 3rd mode Major b2, b69 Minor 7 4th mode Harmonic Minor #410 Minor 7 Dorian b2; 2nd mode Melodic

Minor

b2

6. 7. 8. 9. 10.

& ˙ œ ˙b œ ˙ œ ˙b œ ˙ œ ˙b œ ˙ œb ˙b œ ˙ œb ˙b œ ˙ œb ˙b œ ˙ œ ˙b œ# ˙ œ ˙b œ ˙ œb ˙b œ ˙ œ ˙b œ


11 ø7 Locrian; 7th mode Major b5, b212 ø7 2nd mode Harmonic Minor b5, b213 ø7 Locrian #2; 6th mode of Melodic

Minor

#214 ø7 2nd mode Major with a b6 #2

11. 12. 13. 14.

& ˙ œb ˙b œ ˙b œb ˙b œ ˙ œb ˙b œ ˙b œn ˙b œ ˙ œ ˙b œ ˙b œb ˙b œ ˙ œ ˙b œ ˙b œn ˙b œ




15 Minor/Major 7 1st mode Harmonic Minor b616 Minor/Major 7 1st mode Melodic Minor n617 Minor/Major 7 4th mode Major with a b6 #1118 Minor/Major 7 Augmented Maj/Min3, 5, #5

15. 16 17. 18.

& ˙ œ ˙b œ ˙ œb ˙ œ ˙ œ ˙b œ ˙ œn ˙n œ ˙ œ ˙b œ# ˙ œ ˙ œ ˙ ˙b œn ˙ œb ˙ œ


19 Major 7 #5 3rd mode Harmonic Minor #5, n420 Major 7 #5 3rd mode Melodic Minor #5, #1121 Major 7 #5.

Major 7 b6 or b13Major with a b6 n5, b13

22 Major 7 #5 6th mode Major with a b6 #5, #9, #1123 Major 7 #5 Augmented Maj/Min3, 5, #5

19. 20. 21. 22. 23.

& ˙ œ ˙ œ ˙# œ ˙ œ ˙ œ ˙ œ# ˙# œ ˙ œ ˙ œ ˙ œ ˙ œb ˙n œ ˙ œ# ˙ œ# ˙# œ ˙ œ ˙ œ# ˙ ˙ œb ˙ œ


24 Diminished 7 7th mode Harmonic Minor Traditional sound

25 Diminished 7 Diminished W 1/2 Tones whole step above each chordmember available

26 Diminished 7 7th mode Major with a b627 Diminished 7 6th mode Major with a b6

24. 25. 26. 27.

& ˙# œ ˙ œ ˙ œ ˙b œ# ˙# œ# ˙ œ# ˙ œ ˙b œn œ# ˙# œ ˙ œ# ˙ œn ˙b œ# ˙b ˙ œ ˙ œ ˙b œ œb




28 Dominant 7 Mixolydian; 5th mode Major n9, n5,13

29 Dominant 7 5th mode Harmonic Minor b9, b1330 Dominant 7 5th mode Major with a b6 13, b931 Dominant 7 3rd mode Major with a b6 b9, #9, b13, n532 Dominant 7 Lydian b7; 4th mode Melodic

Minor9, #11, 13

33 Dominant 7 Super locrian; 7th mode MelodicMinor

b9, #9, b13, b534 Dominant 7 Mixolydian b6; 5th mode Melodic

Minor

b13

35 Dominant 7 Diminished 1/2 W 13, b9, #1136 Dominant 7 Whole Tone 9, #5

28. 29. 30. 31. 32.

& ˙ œ ˙ œ ˙ œ ˙b œ ˙ œb ˙ œ ˙ œb ˙b œ ˙ œb ˙ œ ˙ œ ˙b œ ˙ œb œb ˙b ˙ œb ˙b œ ˙ œ ˙ œ# ˙ œ ˙b œ

33. 34 35. 36.

& ˙ œb œb ˙b œb œb ˙b œ ˙ œ ˙ œ ˙ œb ˙b œ ˙ œb œb ˙n œ# ˙ œ ˙b œ ˙ œ ˙ œ# œ# ˙b œ



SCALES with DERIVED CHORDS:

MAJOR SCALE CHORD TYPES

1st Major 72nd Minor 73rd Minor 74th Major 75th Dominant 76th Minor 77th ø7

&

?

www wwwwww www wwww www www

C Cmaj7 Cmaj9 C69maj7 C6 C2 C2/E

w w ww www w w w

www wwwwww www

Dm Dm7 Dm9 Dm11

w w ww www

www wwwEm Em7

w w

&

?

www www www wwww wwwwF Fmaj7 Fmaj9 Fmaj7

#11

w w ww ww ww

www www www www www wwwwwwww

G G7 G9 G13 G7sus4 G9sus4 G13sus4

w w ww ww ww w ww

&

?

www www www wwwwAm Am7 Am9 Am11

w w ww wwwww www

wwwB° Bø7 Bø711

w www



HARMONIC MINOR CHORD TYPES

1st Minor (major 7)2nd ø73rd Major 7 #54th Minor 75th Dominant 76th Major 77th °7

&

?

wwwb wwwnb wwwwnbCm Cmmaj7 Cmmaj9

w w w

wwwb wwwb wwwD° Dø7 Dø711

w w wwb

wwwb wwwEbaug Ebmaj7

#5

wb wb

&

?

wwwb wwwbb wwwbFm Fm7 Fm9

w w wwb

wwwn wwwn wwwb wwwbb www wwwwbG G7 G7

b9 G7b13

b9G7sus4 G7sus

b9

w w wwn wwn w w

&

?

wwwbb wwwb wwwwnbwwwwnb wwwn

Ab Abmaj7 Abmaj7#9 Abmaj7#9

#11GAb

wb wb wb wwb wwwbbwww wwwb wwwbB° B°7 B°7(add G)

w w ww




CHORD TYPE

1st Major 71st Major 7 b62nd iiø73rd Dominant 7

(#9, b9, b13, n5)4th Minor (major 7)5th Dominant 7 (b9, n13)6th Major 7 #56th °7, °maj77th °7

&

?

wwwwbCmaj7b6

w

wwwb wwwDø7#2

ww wwwb

wwww wwwE7b13

#9E7alt.

www# www#

&

?

wwwb www wwwnb www wwwFmmaj7 Fmmaj9 Fmmaj7

#11 F°maj9

w wwb wwwb wwb wwwbwwwb

G13b9

ww

EmFm

&

?

www www wwwAbmaj7

#5 G/Ab Ab°maj7

wb wb wb

wwwb wwb wwwbB°7 B°7(add E ) B°7(add G)

w www ww



MELODIC MINOR CHORD TYPE

1st Minor (major 7)2nd Minor 7 (b9) or 7susb93rd Major 7 #54th Dominant 9 #11

Lydian dominant5th Dominant 9 b136th ø7 #27th Dominant 7

(#9, b9, b13, b5,)

&

?

wwwb wwwnb wwwwnbCm Cmmaj7 Cmmaj9

w w w

wwwbwwwwb

Aø7/D Aø7#2/D

ww www

wwwb wwwEbaug Ebmaj7

#5

wb wb

&

?

wwwwbF9#11

ww

wwwbG9b13

ww

wwwwbAø7#2

ww

wwwwbB7alt.

ww

1/2W DIMINISHED CHORD TYPE

Dominant 7(b9, #9, n13, #11)

&

?

wwwbbC7b9

ww

www#bbC7b9#11

ww

www#b#C7#9#11

ww

wwww#bbC13#11

b9

ww

ww#bC7#9

ww

wwww##C13#11

b9 #9

wwwwwbb



W1/2 DIMINISHED CHORD TYPE

°7, °7 with added notes

&

?www#b

C°7

w

www#bC°7(add B)

ww

www#bC°7(add D)

ww

wwww#bC°maj7(add D)

ww

wwwnC°7(add F )

www#b

wwwbbC°7(add Ab)

www#

WHOLE TONE CHORD TYPE

Dominant 7 (9, #5)

&

?

ww#C7#5

wwbwwb

C7b5

wwb

www#C9#5

wwb

wwww##

C9#5#11

wwb

AUGMENTED CHORD TYPE

Major 7 #5Major 7minor (major 7)

&

?

www#Cmaj7#5

w

wwwbCmmaj7

w

www##Cmaj7#9#5

ww

www#www#

B aug.C aug.

Appendix II Elaborations of Static Harmony 467


Appendix II.Elaborations of Static Harmony

Diatonic and chromatic elaborations may be introduced in the accompaniment or in the melodic im-provisation that introduces more motion than implied by the static harmonic implications. Severalcommon elaborations are cataloged in this appendix.

ELABORATIONS of ii7-V7 PROGRESSIONS

This is the most common shown over ii7-V7-I in C major. A chromatic line is inserted beginning on theroot of the ii7 chord which moves down to the third of the V7 chord.

II.1 Traditional

&?

c

c

..

..

..

..

..

..

˙ ˙#Dm7

w

˙n ˙nG7

˙ ˙

œ œœ œ# ‰jœœ ‰ jœn

.œjœ œ œ

‰ jœœ ‰ jœ œ œœœ œ ˙

II.2 Traditional

&?

c

c

..

..

..

..

..

..

˙ ˙#Dm7

w

˙n ˙nG7

˙ ˙

œ œ œ œ# œ œ œ œn

.œjœ œ œ

œ œ œ œ œ œœœ œ ˙

II.3 Ex. 10.56a from Chapter 10

& bb b b c œ œ3

œ œ œ œn œ3

œ œ œ

Bbm7

œ œ# œ œ ˙Eb7

468 Appendix II Elaborations of Static Harmony


II.4 Ex. 10.55 from Chapter 10

& b c œ œ œ ¿ œ# ¿ œn œGm7

œ œ œ œ3œb œb œ œ œ

C7

œ Œ ÓF

II.5 Ex. 10.59 from Chapter 10

& ## c œ œ œ œ# œ œ œn œEm7

œ œ œ œ œ œ œ œbA7

œ œ Œ ÓD

Several examples of this type of elaboration occurred in the improvisations of Cannonball Adderleyand Charlie Parker shown in chapter 18.

ELABORATIONS of a C MAJOR CHORD USUALLY as TONIC (I)

II.6 5-#5-6-b6 over two measures

&?

c

c

..

..

..

..

..

..

˙ ˙#C

w

˙ ˙b

w

œœœ ≈ œœœ œœœ œœœ œœœ# ≈ ...jœœœ œœœ œœœ

œ .œ œ œ œ

œœœ ≈ œœœ œœœ œœœ œœœb ≈ ...jœœœ œœœ œœœ

œ .œ œ œ œ

II.7 5-#5-6-b7 over four measures as the first four measures of blues

&?

c

c

wwwC

w

www#

w

wwww

wwwbC7

w

wwwF

wII.8 5-#5-6-b7 implied in melodic line over the first four measures of blues from Tete

Montoliu

& b c ‰ Jœ ‰jœ œ œ ‰ Jœb

F

Œ ‰ jœ œ œ ‰ Jœn Œ ‰ jœ œ œ ‰ Jœb .˙ ŒF7



II.9 5-6-7-6 diatonic elaboration

&?

c

c

..

..

˙ ˙C

w

˙ ˙

w

II.10 R-7-6-7-R-7-b7 diatonic elaboration over first four measures of blues leading to IV.

&?

c

c

..

..

˙ ˙C

w

˙ ˙

w

˙ ˙C

w

˙ ˙

w

˙ ˙C

w

wwwbC7

w

˙F

wII.11 Two chromatic lines implied: 1-2-#2-3 & 3-4-#4-5

&?

c

c

˙ œœœœ œœœœ##w

wwwww

II.12 Several chromatic elaborations1-2-#2-3 3-4-#4-5 Combined 3rds: 6ths: 6ths:

&?

c

c˙ œ œ#C

www

˙ œ œ#C

w

w

w˙ œœ œœ##C

w

www

˙ œœ œœ##C

w

ww

w

˙ œœb œœ#n

w

wwbC7

w

II.13 3-4-#4-5 implied by melody

:

& ˙ œ œ œ ˙ œ œ œC

˙# œ œb ˙ Ó



II.14 Bluesy chromatic elaboration over C7

& œœ œœ œœ## œœ œœœœ# œœ# œœb œœ œœb œœb œœ œœ œœbb œœ

.œœœ œœœ## œœœbnn œœœ œœœ

.œœœbnb œœœb www

II.15 3-4-#4-5 implied by melody from Sonny Stitt

& bb c œ œ œ œ œ œ œ œBbœ œ œn œ œ œ œ œb œ œ#œn œ œ

II.16 3-4-#4-5 implied by melody from Tete Montoliu

& b c3œ œ œ œ œ œ œ

F7

‰ œ jœb œn œ ‰ JœBb7

II.17 3-4-#4-5 & 5-#5-6-b7 implied by melody from Tete Montoliu

& b c ‰ Jœ œ œ#3

œ œ œF 3

œ œ œ JœnœJœ

3œ œ# œ 3œb œ œb œn œ œ œ œ œ3

œb œ œ œ œF7

II.18 Descending 5-b5-4-3 3-4-#4-5 & b7-6-b6-5 for end of blues phrase

&?

c

c

Œ3

œ œ œ3

œb œ œ3

œ œ œ

wŒ œb œ œb

œœ œœb œœ ˙œ œœbb œœ ˙œ

Œ3

œ œ œ3

œb œ œ3

œ œ œ

wŒ œb œ œb

œœ3œ œ œ

3œb œ# œ3

œ œn œ

œ œœœ# œœœn# œœœnœ

wwwwwb

II.19 9-R-7-R elaboration in pop style

&?

c

c

..

..

..

..

..

..

˙˙˙ ˙C

w

˙ ˙

w

œœœ3

œœœ jœ œœœ3

œœœ jœ

œ3

œjœ œ

3

œ jœ

œœœ3

œœœ jœ œœœ3

œœœ jœ

œ3

œjœ œ

3

œ jœ



II.20 Cycle of Dominants on B Section of “Rhythm Changes”

&

?

c

cœ# œ œ œ œ œ

D7

œ œ œ œ

œ# œ œ œ œ œ

œ œ œ# œ

œn œ œ œ œ œG7

œ œ œ œ

œ# œ œ œ œ œ

œ# œ œ œ

&

?œ œ œ œ œ œ

C7

œ œ œ œ

œ# œ œ œ œ œ

œ# œ œ œ

œ œ œ œb œ œF7

œ œ œ œ

œn œ œ œ œb œBb

œ# œ œ œ œb

ELABORATIONS of a D MINOR CHORD as i, vi, or i

II.21 5-b6 [#5]-n6-b6 “Secret Agent” elaboration over Dm.(Chords may appear as: Dm - Dm#5 - Dm6, or Dm - Dmb13 - Dm6 or Dm - Bb/D - Dm6)

&?

c

c

..

..

..

..

..

..

˙ ˙bDm

w

˙n ˙b

w

œœœ œœœ œœœb œœœ ‰jœœœn

˙ .œ Jœ

‰ jœœœ ‰jœœœ œœœb œœœ

˙ .œ jœII.22 7-6-b6-6 elaboration over Dm

&?

c

c

..

..

43

43

..

..

..

..

˙ ˙nDm

w

˙b ˙nw

‰ jœœœ Œ œœœ

˙ œ œ

‰ jœœœ Œ œœœ˙ œ œ

‰ jœœœb Œ œœœ

˙ œ œ

‰ jœœœn Œ œœœ˙ œ œ



II.23 Blues Etude In F with elaborations & compound melody examples

& b c œ œ œ# œ œ ‰ jœ œ œ œ œn œ œ Œ ‰ Jœ œb œ œb œ œ œ œn œb œ œ œb œ

& b Œ ‰ jœ œ œ œ œ# œ œ œ œb Œ ‰ Jœb œ œ ‰ Jœ œn œ# œb œn œ œ# Œ Œ œ œ

& b œ œ Œ Œ ‰ jœ# œ œ œb œ œ œb œ œ œ œ# œn œn œb .œjœ Ó

& b œ œ œ œ œ œ œ# w ‰ jœ œ# œ œ œ œ œ œ œ œb ‰ Jœ œ œ œ œb œ

& b ‰ Jœ ‰ jœb œ œn œ# œ Ó Œ œ œ œ œ‰ jœ œ œn œ# œ œ œ œ œ#

œb ‰ Jœ

& b œ œ œ œ œ# œ œ œ œn œ œ œ œ# œ œ œb œ œ œ œ ‰ œ œ œ œnœ œ œ œ œ œ œ œ œ

Appendix III Endings 473


Appendix III. EndingsMusicians should go to jobs with a few standard endings in their toolbag in order to avoid potentialtrain wrecks. Appendix III catalogs several common endings and their variations.

ENDINGS to BLUES

III.1 Blues turnaround and ending using common chromatic elaborations

&

?

bb

b b

c

c

Œ3

œ œ œ3

œn œ œ3

œb œ œBb

œ œœb œœ œœbœ œœœb œœœ ˙

Gb9 F13

œœ œœbb œœ ˙

Œ3

œ œ œ3

œn œ œ3

œb œ œ

œ œœb œœ œœbœ œœœ### œœœnn ˙

B9 Bb13

œœ œœœ#n œœœbbn ˙

III.2 Blues turnaround and ending using common chromatic elaborations

&

?

b

b

c

c

Œ 3œœb œ œœ3

œœn œ œœ3

œœbb œ œœF

w

œœ œœœb œœœn# œœœbbn

œ œ œ œ

˙

œIII.3 Blues turnaround and ending using common chromatic elaborations

&

?

b

b

Œ 3œ œ œ 3œn œ œ 3œb œ œF

œ œœb œœ œœbœ œœœ œœœ#n œœœnbb

D7#9 G13b9 C7#9

œœ œœ# œœn œœ

wwwF13

wwb

474 Appendix III Endings


III.4 Blues ending. Top line improvised.

&

?

b

b

c

c

‰ Jœ œb œ œn œb œb œ

jœ .œ œ œn

œb œ œn œ Œ œœœœbU

œ œb œ Œ œU

III.5 Blues ending. Last two measures improvised.Inner descending voice is in contrary motion to bass line.

&

?

b

b

c

c

‰ ..œœ œœœœb œœœœ

œ œ œ œ

œœœœ œœœœ œœœœn œœœœ œœ

œ œ œn œ œ

‰ Jœ œbTœ œn œb œb œ

∑

œbTœ œn œ Œ œœœœb

U

Ó Œ œU

III.6 Blues ending. Last two measures improvised.Contrary motion: Bass line from III.5 is now melody and the inner voice is in the bass.

&

?

b

b

c

c

‰ ...œœœ œœœ œœœœ œ œb œ

œœœ œœœ œœœœnbb œœœœ œœœœn

œ œ œb œ œ


∑


U

Ó Œ œU

ENDINGS to STANDARD TUNES

III.7 Ending to a pretend song in standard style. Standards typically end on tonic at “*”from which point several options are available

&

?

b

b

c

c

˙ œ œGm7

˙ ˙ww

˙ ˙˙˙C7

www

wwwF

wwwwwww

*



III.8 Ending in swing style. Sometimes called “Ellington” ending

&

?

b

b

c

c

‰ ...œœœ> œœœ.œœœ.

‰ ..œœ> œœ. œœ.Gm7

˙ ..œœb jœœn˙ ...œœœ

jœœœbC7

‰ .œ>œ.œn.

‰ .œ> œ.œn.œ œ œ œ Œ œœœœ

U

œ œ œ œ Œ œUFmaj7

III.9 “Ellington” ending may repeat the last chord with this rhythmic extension. The lastchord is often absurdly dissonant, final one may be held or played with a fall-off.

&

?

b

b

c

c

jœ .œ>œ.œn.

Jœ .œ> œ.œn.œ œ œ œ Œ œœœœb

œ œ œ œ Œ œF13

˙˙˙œœœœœn# œœœœœ Œ

˙œœœœœbb œœœœœ Œ

œœœœœn# ‰ Jœœœœœ Œ

œœœœœœœœœœbb‰J

œœœœœ Œ

œœœœœ

III.10 “Basie” ending: solo piano answers ensemble who rejoins on final chord

&

?

b

b

c

c




jœœœbC7

Ó œœ Œ

Ó œœ Œ

œœn ‰ Jœœ Œ œœœœ

U

œœ# ‰ Jœœ Œ œ

UFmaj7

Piano solo: tutti:



TAG EXTENSIONS

The last phrase may be repeated in various fashions. These extensions are called the “tag.”

III.11 Tag Extension add the iii7 - V7/ii, repeat the ii7 - V7, then “Basie” ending

&

?

b

b

c

c



..œœjœœb ˙

...œœœ Jœœœ ˙

C7

‰ ...œœœ> œœœ.œœ.

‰ ..œœ> œœ. œœœbb

.Am7 Eb9...œœœb

jœœœ ˙...œœœ# Jœœœ ˙

D7b9

&

?

b

b




jœœœbC7

Ó œœ Œ

Ó œœ Œ

œœn ‰ Jœœ Œ œœœœ

U

œœ# ‰ Jœœ Œ œ

UFmaj7

III.12 Tag Extension add the ii7 - V7/bIII, iii7 - V7/ii - ii7 - V7, then “Ellington”

&

?

b

b

c

c



..œœjœœb ˙


C7

‰ ...œœœb> œœœb. œœœb.

‰ ..œœb> œœ. œœ.

Bbm7

..œœjœœ ˙

...œœœbbb Jœœœ ˙

Eb7

&

?

b

b

‰ ...œœœ> œœœb.œœœ.

‰ ..œœ> œœb . œœ# .

Am7 Eb7 D7

˙ ..œœb jœœn˙˙

...œœœjœœœb

Gm7 C7b9 F

‰ .œ>œ.œn.

‰ .œ> œ.œn.œ œ œ œ Œ œœœœ

U

œ œ œ œ Œ œUFmaj7



III.13 Blues, “Ellington” and “Basie” occupy the same rhythmic space. Even if the ending callis missed, the band should be able to end together.

&

&?

b

b

b

c

c

c


Óœœ Œœœ

‰ .œ> œ

.œn.


U

œœn ‰jœœŒ œœœœnU

œœ# Jœœ

œ œ œ œ Œ œU

III.14 Endings beginning an extended progression starting on the iiø7/iii. Often called the“flat five” ending. Better name might be “sharp four”

&

?

b

b

c

c

‰ ...œœœ> œœœ.œœœ.Gm7

‰ ..œœ> œœ. œœ...œœjœœb ˙

C7


œœœn ‰ jœœœ œœœb œœœ ‰jœœœ

Bø7 Gø7/Bb F/A

œœn ‰ Jœœ œœb œœ ‰ J

œœ

‰ ...œœœ œœœn œœœG#°7

‰ ..œœ œœ# œœ

&

?

b

b

œœœœ‰ jœœœœ œœœœbb œœœœ ‰

jœœœœnnGm9 Gb9#11 Fmaj7

#11

œœn ‰ jœœ œœbb œœ ‰jœœ

Œ ‰ jœœœœn ˙˙

Œ ‰ jœœ ˙

wwwwww



III.15 Another version of “flat five” or “sharp four” ending

&

?

b

b

c

c



C7


œœœn ‰ jœœœ œœœ œœœ ‰jœœœb

Bø7 Bb9 A7b13

#9

œœn ‰ Jœœ œœbb œœ ‰ J

œœ

‰ ...œœœb œœœn œœœAb9#11

‰ ..œœ œœbb œœ

&

?

b

b

œœœœn‰ jœœœœ œœœœbb œœœœ ‰

jœœœœnnG9 Gbmaj7 Fmaj7

#11

œœn ‰ jœœ œœb œœ ‰jœœ

Œ ‰ jœœœœn ˙˙

Œ ‰ jœœ ˙

wwwwww

III.16 Another version of “flat five” or “sharp four” ending

&

?

b

b

c

c



C7


œœœn ‰ jœœœ œœœ œœœ ‰jœœœb

Bø7 E7b13

#9Aø7

œœn ‰ Jœœ œœ# œœ ‰ J

œœn

‰ ...œœœb ˙˙˙D7b13

#9

‰ ..œœ ˙#

&

?

b

b

œœœb‰ jœœœ œœœbb œœœ

‰ jœœœnnnGø7 C7b13

#9Fmaj7#11

œœ ‰jœœ œœ œœ ‰

jœœ

Œ ‰ jœœœœn ˙˙˙Œ ‰ jœœ ˙

wwwwww



BALLAD ENDINGS

III.17 Ballad style ending on a major seventh chord a half-step above tonic

&

?

b

b

c

c

œœœ œœœ œœœ œœ œœbGm7 C7

˙ œœœ œœœ

wwwGbmaj7#11

wwb

wwwnFmaj7#11

ww

wwwww

III.18 Ballad style ending with two major seventh chords preceding tonic

&

?

b

b

c

c


˙ œœœ œœœ

˙b ˙˙˙Dbmaj7 Gbmaj7

#11

˙b ˙b

wwwnFmaj7#11

ww

wwwww

III.19 Ballad style ending with four major seventh chords preceding tonic

&

?

b

b

c

c


˙ œœœ œœœ

œœœ œœœ œœœb œœœEbmaj7 Abmaj7 Dbmaj7 Gbmaj7

#11

œœb œœb œœb œœb

wwwnFmaj7#11

ww

wwwww

III.20 Ballad style ending with cycle of 5ths major 7ths chords preceding tonic

&

?

b

b

c

c


˙ œœœ œœœ

œœœ œœœ œœœ œœœFmaj7 Bbmaj7 Ebmaj7 Abmaj7

œœ œœ œœb œœb

œœœb œœœ ˙˙˙nDbmaj7 Gbmaj7

#11 Fmaj7#11

œœb œœb ˙wwwww



III.21 Ballad style ending with cycle of 5ths 9# 11 chords preceding tonic

&

?

b

b

c

c


˙ œœœ œœœ

œœ œœ œœ œœ œœ œœ œœFmaj7 Bb9#11

˙ ˙b

œœ œœ œœ œœ œœ œœb œœ œœEb9#11 Ab9#11

˙bb ˙bb

œœ œœb œœb œœ œœb œœb œœ œœDb9#11 Gb9#11

˙bb ˙˙bb

&

?

b

b

wwwwwnFmaj7#11

www

wwwwwwww

III.22 Ballad style ending with cycle of 5ths unrelated major 7th chords preceding tonic

&

?

b

b

c

c

œœœ œœœ œœœœœœ œœœb

Gm7 C7

˙ œœœ œœœ

œœœœ œœœœbb œœœœ#### œœœœn##Ebmaj7 Gbmaj7 Bmaj7 Dmaj7

œœb œœb œœ#n œœ

œœœœ#n œœœœ œœœœnb œœœœœbbGmaj7 Bbmaj7 Ebmaj7 Gbmaj7

œœ œœ œb œœbb

wwwwwnFmaj7

wwn

III.23 Ballad style ending with any “flat five” or “sharp four” ending

&

?

b

b

c

c


˙ œœœ œœœ

˙n œœœb œœœbBø7 Gø7/Bb

˙n ˙b

˙ œœœ œœœbF/A Ab13

˙ ˙bb

œœœb œœœ œœœœbœœœœ

Dbmaj7 Gbmaj7

˙b ˙b

wwwwn

Fmaj7#11

ww

wwwwww

Appendix IV Composing Tips 481


Appendix IV. Composing TipsCOMPOSING TIPS

Teaching composition is one of the most difficult jobs. How can a teacher instruct a student how to writemusic that the student hears? It can not be done. What can be done is helping the student to recognizeand develop strong elements in their writing. For the process to begin, the student must have writtensomething. At that point the teacher’s job is to help them find and make choices The ultimate choiceswill be made by the students. If the student has only a first draft, there is nothing to choose from. Theteacher can assist in the rewriting process, instruct the student on questions to ask, and help with proce-dures and organizational ideas from a long history of great composers arrangers and writers.

MUSIC THEORY RULES

Two great rules of all music theory:No. 1 Does it sound good?No. 2 Does it sound good?

All else is a discussion of music theory principles, not music theory rules. When a composer creates amusical idea, at some point he must refer to rule no. 1. If the answer is “yes,” he might want to ask “why.”At that point he may discover a principle working that will be helpful in developing this piece or othercompositions. If the answer is “no, it doesn’t sound good,” the composer will again have to ask “why,”and may discover other helpful principles. The composer should always refer to the two rules and try todetermine the principles behind the answers. If something sounds good, you would want the tools andunderstand the principles in order to create music later that sounds good. It follows that the composerwould also want to understand the things that made the music not sound good.

REWRITING

Hemingway once said that writers were not paid to write, writers were paid to rewrite. This is good adviceto all composers and arrangers. In the process of writing and rewriting, the composer must constantlyrefer to rule no. 2 (or rule no. 1). A first draft gives the composer no choices. Examination of all the el-ements of a piece and a deliberate reworking of these elements gives the composer choices. If the com-poser has written several versions of one section of a composition, the choice can be made for the mosteffective and musical. Sometimes after writing and rewriting a section of music, I have had five versionsto choose from. Sometimes it is the sixth version, a combination of the best elements of the first fivethat I end up with. Other times, it is the first draft that best conveyed the musical idea. Having done theother five versions was helpful in determining which idea was the best. How else could you know withoutthe other choices?

GETTING STARTED

Let inspiration carry you as far as it will. Try not to be critical of what comes naturally. It is hard enoughto get the flow going, so do not constantly criticize your output at the beginning stages. Let the juicesflow. After the inspired moment has past, then the work can begin.

The composition process may begin with any number of musical elements. It may only be a rhythmicidea, a melodic germ, or possibly a harmonic progression. It may start from a formal idea (ABACABA),

482 Appendix IV Composing Tips


or from an orchestration concept, a combination of sounds, then trying to imagine music that wouldmake that sound work. There is no set way to begin. Move with what moves you at the moment.

REWRITING by ASKING QUESTIONS

MELODIC MATERIAL PHRASING

Range: too much? Not enough? Too extreme? Phrase content: Is the phrase form = abcdefghaijor more clear: abac, abba, abcc, etc.

Contour (emotional curve, climax timing, storytelling)

Phrase beginnings: (before the downbeat/on thedownbeat/after the downbeat: B/O/A)

Busy/not busy enough Phrase lengths: short and long phrasing as con-trasts

Vague? Are the rhythms natural? FOCUS:Which area or musical element should get the

most attention at any point?

HARMONY Harmony

Too busy/ not busy enough Melody

Does it support or conflict with the melody Counterpoint (does the secondary material sup-port or conflict with the primary material?)

Are there possible substitutions, deceptive resolu-tions, reharmonizations, which could help propelthe piece.

Orchestration

Material may recur in the piece in different har-monic settings or different modes.

Do the secondary elements distract from or sup-port the primary element

ACCOMPANIMENT CHOICES: FORMThe larger structure of the piece:

No accompaniment? Introduction/ exposition of main themes/Development of main themes/ transitions/ re-statement of themes (maybe different setting thanin the beginning)/ ending

Independent? What is the relationships of the themes, transi-tions, introduction and ending?

Dialog? Contour (emotional curve of the entire piece,does it tell a story, how to control the curve.)melodic material

Emphatic matching of the accompaniment andmelody. 1 to 1 relationship?

CONTRASTS

An A section is usually followed by a B section at some point. For a B section to sound like a B sectionit has to be different from the A section. That sounds like an obvious statement. Many beginning com-posers get locked into their first ideas, and write what they consider B sections when they are actuallymore of a development of the A ideas. Make sure the B section contrasts in one or more ways to thecharacter of the A section. Some possible contrasts areas include:

• Harmonic character• Bright/dark character, Modulations• Type of harmonic vocabulary: Traditional & substitutions, Mystery chords, Pedals• Simplification of original• Complication of original• Harmonic rhythm (if A is active then B could be less harmonically active)

Appendix IV Composing Tips 483


• Melodic range (if A remains low, then B could go a little higher, A returns low, B1 return a littlehigher than B.)

• Orchestration (change of colors and accompaniment)• Texture (small and thin/big and thickly textured)• Rhythmic activity (applies to the melody and accompaniment) smooth/jagged, Active/passive,

what is the basic unit? 8ths? then quarters, dotted quarters, dotted eighths, and sixteenths pro-vide contrast.

• Phrases beginnings (before the downbeat/on the downbeat/after the downbeat: B/O/A)• Phrase lengths: short and long phrasing as contrasts

CONSISTENCIES

Contrasts are very important, but consistency is a factor. This is often very difficult for some beginningcomposers. Harmonic vocabulary: might not mix dodecaphonic writing with I-IV-V within phrases.Extended tertian chords and polychords may not have bebop sounding ii7-V7-I passages in between.

COMPOSITIONAL DEVICES for MOTIVIC DEVELOPMENT

Review from Chapter 12, pp.336-340.

Repetition: The theme must recur for it to be a theme.Sequencing: Transposing to other pitch levels in a repeating series.Fragmentation: Using a smaller portion of the initial idea.Addition or interpolation: The opposite of fragmentation. Material is added to the motive. The new

material can occur before, after, or in the middle of the original motive which is usually intact andrecognizable.

Embellish or ornament: This differs from the addition of notes before or after as it involves theelaboration of the original note using neighbor tones while still following the general contour of theoriginal idea.

Augmentation: To augment is to make something larger. Musically this can apply to the rhythmicunits, the intervals and even the orchestration.

Diminution: To diminish is to reduce something. This can apply to rhythmic units, the intervals andthe orchestration.

Inversion: The intervals of the original idea can be turned upside down. They can be inverted usingexact intervals or generally following the diatonic intervals.

Retrograde: The motive is played with the pitches in reverse order. This is not perceived by the casualobserver, but can be a useful device.

Retrograde inversion: the original can occur upside down and backwards. This is also not always rec-ognizable to the casual observer.

Displacement: May be applied to rhythms or pitches. Pitches may be displaced by moving them up ordown an octave. A motive may be rhythmically displaced to a different part of the phrase earlier orlater than might be expected

Mode Change: The motive might be set in other modes.Iteration: Repetition. Making a simple rhythm more active by repeating melodic pitches.

LISTENING

Someone once said, “stealing a little is plagiarism, stealing a great deal is prolific writing.” Stravinskyonce said, that he stole a great deal from Mozart, but was sure Mozart would be pleased with what he didwith it. Listen to many styles, not just your area of expertise. Ask yourself about the rules of music. If itsounded good, why? Remember what made it sound good and use the principles. If it sounded bad, cer-tainly try to remember why and avoid whatever was the cause.

484 Appendix V Theory Applications


Appendix V: THEORY APPLICATIONSThis appendix illustrates the application of theoretical concepts to a standard jazz tune based on a tradi-tional harmonic progression.

GENERAL CONCEPTS

I. Improvise by Paraphrasing the melodyA. Learn MelodyB. Play around with the melodyC. Use melody framework to create more elaborate lines

II. Improvise on the HarmonyA. Harmonic Generalization

1. Determine Key Areas2. Determine Triads for Generalization: Review triads with neighbor tones

B. Harmonic Specificity1. Arpeggiate each chord

a. 1-3-5-7b. 3-5-7-9

2. Guide Tonesa. Locate all 3rdsb. Precede all 3rds with their UNT. This will often be the 7th of the preceding chord.c. Precede all 3rds with their UNT & LNT.

3. Outlinesa. Play simple outlines to connect each adjacent chord a fifth apartb. apply some basic elaborations of the outlines

4. Specific Scale Color SuperimpositionsDecide if any colorful substitutions would be musically effectivea. ø7#2 for m7 (ii7) or ø7 (iiø7)b. Other dominant colors

(1) Mixolydian, 5th mode major(2) 5th mode Harmonic minor(3) Superlocrian, 7th mode of melodic minor(4) Mixolydian b6, 5th mode melodic minor(5) Lydian b7, 4th mode melodic minor(6) 5th mode Major b6(7) 3rd mode Major b6(8) 1/2W Diminished(9) Whole Tone

c. Lydian for Major I

APPLIED to a STANDARD PROGRESSION

Progression No. 1 (first eight measures shown)

Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7vi7 ii7 V7 I IV iiø7/vi V7/vi vi7

Appendix V Theory Applications 485


II. Improvise on the HarmonyA. Harmonic Generalization

1. Determine Key Areas2. Determine Triads for Generalization: Review triads with neighbor tones

Analysis shows the progression to be in the key of C or A minor. Two basic triads for generalization: Cmajor and A minor. Review basic triads, neighbor tones, and triadic generalization concepts fromChapter 4. The C major blues scale and A minor blues scale both generalize these two triads and wouldwork as melodic material for the entire progression. Apply triadic exercises from Chapter 3 ofComprehensive Technique for Jazz Musicians.

C Major triad with neighbor tone patterns

&

?

œœ ˙ œ œ# ˙œ œ# ˙œ œ ˙

œœ ˙ œ œ# ˙œ œ# ˙œ œ ˙

˙ œ œ ˙ ˙ œ œ# ˙˙ œ œ# ˙ ˙

œ œ ˙ ˙

˙ œ œ ˙ ˙ œ œ# ˙˙ œ œ# ˙ ˙

œ œ ˙ ˙

œ ˙ œ ˙ œ ˙ œ# ˙œ ˙ œ# ˙

œ ˙ œ ˙ ˙

œ ˙ œ ˙ œ ˙ œ# ˙œ ˙ œ# ˙

œ ˙ œ ˙ ˙

A Minor triad with neighbor tone patterns

&

?

œ œ# ˙ œ œ ˙œ œ# ˙œ œ# ˙

‰ œ œ# ˙ œ œ ˙œ œ# ˙œ œ# ˙

˙ œ œ# ˙ ˙ œ œ ˙˙ œ œ# ˙ ˙

œ œ# ˙ ˙

˙ œ œ# ˙ ˙ œ œ ˙˙ œ œ# ˙ ˙

œ œ# ˙ ˙

œ ˙ œ# ˙ œ ˙ œ ˙œ ˙ œ# ˙

œ ˙ œ# ˙ ˙

œ ˙ œ# ˙ œ ˙ œ ˙œ ˙ œ# ˙

œ ˙ œ# ˙ ˙

Blues Scale ideas applied to progression

&

?

c

c

jœ# œ œ œ

œ

Jœ# œ œ œ

œ

.œ jœ Œ œ œAm7

.œJœ Œœ œ

œ œ# œ œ Œ ‰ Jœ

Dm7

œ œ# œ œ Œ ‰ Jœ

œ œ œ œb œ œ œn œ

G7

œ œ œ œb œ œ œn œ

.˙ Œ

Cmaj7

.˙ Œ

&

?

œ œ œ œ œ œ ‰ Jœ

Fmaj7

œ œ œ œ œ œ ‰ Jœ

.œJœ Œ ‰ jœ

Bø7

.œJœŒ ‰ J

œ

3

œ œ œ œ œ œ‰ jœ

E7

3œ œ œ œ œ œ ‰ jœ

.˙Œ

Am7

.˙ Œ



B. Harmonic Specificity1. Arpeggiate each chord

a. 1-3-5-7

&

?

c

c

œ œ œœ œ œ œ

UAm7

œ œ œœ œ œ œU

œ œ œœ œ œ œ

UDm7

œ œ œœ œ œ œ

U

œ œ œœ œ œ œ

UG7


œ œ œœ œ œ œ

UCmaj7

œ œ œœ œ œ œ

U

&

?

œ œ œœ œ œ œ

UFmaj7


œ œ œœ œ œ œ

UBø7

œ œ œœ œ œ œ

U

œ œ# œœ œ œ œ

UE7

œ œ# œœ œ œ œU

œ œ œœ œ œ œ

UAm7

œ œ œœ œ œ œ

U

b. 3-5-7-9

&

?

c

c


Am7

œ œ œœ œ œ œ

U

œ œ œœ œ œ œ

UDm7


œ œ œœ œ œ œ

UG7


œ œ œœ œ œ œ

UCmaj7


&

?

œ œ œœ œ œ œ

UFmaj7



Bø7

œ œ œœ œ œ œ

U

œ# œ œœn œ œ œ

UE7

œ# œ œœn œ œ œU


Am7

œ œ œœ œ œ œ

U



2. Guide Tonesa. Locate all 3rds

&

?

c

c

wAm7

w

w

Dm7

w

w

G7

w

w

Cmaj7

w

w

Fmaj7

w

wBø7

w

w#

E7

w#

wAm7

w

b. Precede all 3rds with their UNT. This will often be the 7th of the preceding chord.

&

?

c

c

œ

œ

.˙ œ

Am7

.˙ œ

.˙ œDm7

.˙ œ

.˙ œ

G7

.˙ œ

.˙ œ

Cmaj7

.˙ œ

.˙ œFmaj7

.˙ œ

.˙ œ

Bø7

.˙ œ

.˙# œE7

.˙# œ

wAm7

w

c. Precede all 3rds with their UNT & LNT.

&

?

c

c

œ œ

œ œ

.˙ œ œ

Am7

.˙ œ œ

.˙ œ œ#

Dm7

.˙ œ œ#

.˙ œ œ#

G7

.˙ œ œ#

.˙ œ œ#

Cmaj7

.˙ œ œ#

.˙ œ œ#Fmaj7

.˙ œ œ#

.˙ œ œ

Bø7

.˙ œ œ

.˙# œ œ

E7

.˙# œ œ

wAm7

w

3. Outlinesa. Play simple outlines to connect each adjacent chord a fifth apart

Outline No. 1

&

?

c

c

œ œ œ œ

Am7

œœ œ œ

œœ œ œ

Dm7

œ œ œ œ

œ œ œ œ

G7

œœ œ œ

œœ œ œ

Cmaj7

œ œ œ œ

œ œ œ œ

Fmaj7

œœ œ œ

œœ œ œ

Bø7

œ œ œ œ

œ# œ œ œ

E7

œ#œ œ œ

w

Am7

w



b. apply some basic elaborations of the outlines

Outline No. 1: UNT & LNT encircling of each third

&

?

c

c

œ œ

œ œ

œ œ œ œ œ

Am7

œœ œ œ œ

œœ œ œ œ#

Dm7

œ œ œ œ œ#

œ œ œ œ œ#

G7

œœ œ œ œ#

œœ œ œ œ#

Cmaj7

œ œ œ œ œ#

&

?

œ œ œ œ œ#

Fmaj7

œœ œ œ œ#

œœ œ œ œ

Bø7

œ œ œ œ œ

œ# œ œ œ œ

E7

œ#œ œ œ œ

w

Am7

w


Outline No. 1: 3-5-7-9 arpeggios merge with outline no. 1

&

?

c

c

œœ œ œ œ œ œ œ

Am7

œ œ œœ œ œ œ œ


Dm7



G7



Cmaj7


&

?


Fmaj7


œ œ œœ œ œ œ œ#

Bø7

œ œ œœ œ œ œ œ#


E7


w

Am7

w



a. Play simple outlines to connect each adjacent chord a fifth apart

Outline No. 2 from odd to even measures

&

?

c

c

.œ Jœ œ œ ‰ J

œAm7

.œ Jœ œ œ

‰ Jœ

wDm7

w

.œ Jœ œ œ ‰ J

œG7

.œ Jœ œ œ

‰ Jœ

wCmaj7

w

&

?

.œjœ œ œ ‰ J

œFmaj7

.œ Jœ œ œ ‰ J

œ

wBø7

w

.œjœ# œ œ ‰ J

œE7

.œ Jœ# œ œ ‰ J

œ

wAm7

w


Outline No. 2 from odd to even measures/ 3rds have chromatic approaches

&

?

c

c

œ œ œ œ œœ œb œ

Am7


.˙ Œ

Dm7

.˙ Œ

œ œ œ œ œœ œ# œ

G7


.˙ Œ

Cmaj7

.˙ Œ

&

?


Fmaj7


.˙ Œ

Bø7

.˙Œ

œ# œ œ œ œœ œb œ

E7

œ# œ œ œ œœ œb œ

.˙ Œ

Am7

.˙Œ




Outline No. 2 from even to odd measures

&

?

c

c

wAm7

w

.œjœ œ œ œ

Dm7

.œ Jœ œ œ œ

w

G7

w

.œjœ œ œ œ

Cmaj7

.œ Jœ œ œ œ

&

?

w

Fmaj7

w

.œjœ œ œ œ#

Bø7

.œ Jœ œ œ œ#

œ ‰ jœ œ œ œ

E7

œ ‰ Jœ œ œ œ

w

Am7

w


Outline No. 2 from even to odd measures/ 3rds chromatically approached

&

?

c

c

˙‰ .œ

Am7

˙ ‰ .œ


Dm7


˙ ‰.œ

G7

˙‰ .œ


Cmaj7


&

?

˙ ‰.œ

Fmaj7

˙ ‰ .œ

œ œ œ œ œœ œ œ#

Bø7

œ œ œ œ œœ œ œ#

œ ‰ jœ œ œ‰ jœ

E7

œ ‰ Jœ œ œ ‰ jœ

w

Am7

w




Outline No. 3 from odd to even measures

&

?

c

c

œ œ œ œ œ

Am7

œ œ œ œ œ

œ ‰jœ œ œ ‰ J

œDm7

œ ‰ Jœ œ œ ‰ J

œ

œ œ œ œ œ

G7

œ œ œ œ œ

.œjœ œ œ ‰ J

œCmaj7

.œ Jœ œ œ ‰ J

œ

&

?

œ œ œ œ œ

Fmaj7

œ œ œ œ œ

.œjœ œ œ ‰ J

œ

Bø7

.œ Jœ œ œ ‰ J

œ

œ œ# œ œ œ

E7

œ œ# œ œ œ

w

Am7

w


Outline No. 3 from odd to even measures/ 3-5-7-9 arpeggios even to odd/encircled 3rds withUNT & LNT

&

?

c

c

œ œ œ œ œ œ

Am7

œ œ œ œ œ œ

œ œ œœ œ œb œ

Dm7


œ œ œ# œ œ œ

G7

œ œ œ# œ œ œ


Cmaj7


&

?

œ œ œ# œ œ œ

Fmaj7

œ œ œ# œ œ œ

œ œ œœ œ œ œ

Bø7

œ œ œœ œ œ œ

œ œ œ œ# œ œ

E7

œ œ œ œ# œ œ

w

Am7

w




Outline No. 3 from even to odd measures/ 3-5-7-9 arpeggios odd to even/

&

?

c

c

œ‰ jœ œ œ ‰

jœ

Am7


œ

œ œ œ œ‰ jœ

Dm7

œ œ œ œ ‰ jœ

œ‰ jœ œ œ

‰ jœ

G7


œ

œ œ œ œ‰ jœ

Cmaj7

œ œ œ œ ‰ jœ

&

?

œ‰ jœ œ œ

‰ jœ

Fmaj7


œ

œ œ œ œ‰ jœ#

Bø7

œ œ œ œ ‰ jœ#

œ‰ jœ œ œ

‰ jœ

E7


œ

w

Am7

w


Outline No. 3 from even to odd measures/ 3-5-7-9 arpeggios odd to even/encircled 3rds w/ UNT& LNT

&

?

c

c

œ œ

œ œ


Am7



Dm7



G7


œ œ œ# œ œ œ œ#

Cmaj7

œ œ œ# œ œ œ œ#

&

?


Fmaj7


œ œ# œ œ œ œ œ

Bø7

œ œ# œ œ œ œ œ

œ# œ œœ œ œ œ œ

E7

œ# œ œœ œ œ œ œ

w

Am7

w

Continue with harmonic specific exercises from Chapters 2 and 15 of Comprehensive Technique for

Jazz Musicians.




(3) Superlocrian, 7th mode of melodic minor(8) 1/2W Diminished

c. Lydian for Major I

&

?

c

c

œ œœ œ œ œ œ

Am7

œ œœ œ œ œ œ

œ œ œœ œ œ œ

Dm7

œ œ œœ œ œ œ

œ œ œ# œ œb œb œ œ

G7

œ œ œ# œ œb œb œ œ

œ œ# œ œ œœ œ#

Cmaj7

œ œ# œ œ œœ œ#

&

?

œ œ œ Œ ‰ Jœ

Fmaj7

œ œ œŒ ‰ Jœ

œ œ# œ œ œ œ‰ Jœ

Bø7

œ œ# œ œ œ œ ‰ Jœ


E7


w

Am7

w

(1/2W Diminished) (Lydian)

(Locrian #2, 6th Mode of D melodic minor)

(Superlocrian, 7th Mode of F melodic minor)


(3) Superlocrian, 7th mode of melodic minor(7) 3rd mode Major b6

&

? c

‰ jœ# œ œ œ œœ œ

Am7

‰ Jœ# œ œ œ œ

œ œ

œ œ œ œŒ

Dm7

œ œ œ œ Œ

‰ jœb œ œb œbœb œb œ

G7b13

#9

‰ Jœb œ œb œb

œb œb œ

œ œb œ œ œb œ œ œb œ#

Cmaj7 C7b13

#9

œ œb œ œ œb œ œ œb œ#

&

?

œ œ œ œ Œ ‰ Jœ

Fmaj7

œ œ œ œ Œ ‰ Jœ

œ# œ œ œ œ ŒBø7#2

œ# œ œ œ œ Œ

‰ jœ œ œbœ œ œ œ

E7b9b5

‰ Jœ œ œb

œ œ œ œ

œn œ œ œ œ ŒAm7

œn œ œ œ œ Œ

3rd mode Eb major b6 secondary dominant

Locrian #2 Altered

CONTENTS====================================================================

INTRODUCTION ............................................ vi

I. REVIEW of BASIC THEORY MATERIALS.......................... 1II. RHYTHM .................................................. 10III. BASIC TONALITY .......................................... 52IV. TRIADIC GENERALIZATION................................... 69V. DIATONIC HARMONY......................................... 95VI. HARMONIC PROGRESSION.................................... 108VII. HARMONIC ANALYSIS ...................................... 135VIII. HARMONIC SUBSTITUTIONS & TURNAROUNDS.................... 151IX. HARMONIC SPECIFICITY.................................... 179X. COMMON MELODIC OUTLINES................................. 224XI. HARMONY: OVERVIEW of VOICINGS .......................... 264XII. MODES & MODAL FRAMEWORKS ............................... 302XIII. QUARTAL HARMONY......................................... 323XIV. OTHER SCALES & COLORS................................... 331XV. EXTENDED TERTIAN STRUCTURES & TRIADIC SUPERIMPOSITION... 370XVI. PENTATONIC APPLICATIONS ................................ 388XVII. COLORING "OUTSIDE" the LINES & BEYOND................... 394XVIII. ANALYSIS: the BIG PICTURE............................... 405XIX. EXPANDING HARMONIC VOCABULARY........................... 441XX. CODA.................................................... 455

Appendix I: Reference for Chord/Scale Relationships ........... 456Appendix II: Elaborations of Static Harmony .................... 467Appendix III: Endings............................................ 473Appendix IV: Composing Tips .................................... 481Appendix V: Theory Applications................................ 484

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harmonic progressions

harmonic substitutions

minor blues scales

minor scale construction

harmonic rhythm

major scale construction

harmonic specificity

chromatic scale